THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 


GIFT  OF 


Saul     Abramovitch 


PUBLIC   SCHOOL 

ORCHESTRAS 

AND  BANDS 


BY 

GLENN  H.  WOODS,  A.A.G.O. 

Director  of  Music 
Public  Schools,  Oakland,  California 


BOSTON 

OLIVER  DITSON  COMPANY 

NEW  YORK  CHICAGO 

CHAS.  H.  DITSON  &  CO.  LTON  A  HEALT 

MADE  IN  U.  S.  A. 


Copyright  MCMXX 
By  OLIVER  DITSON  COMPANY 

International  Copyright  Secured 


MUSIC 
LfBRARY 

r 
'*.f 


DEDICATED  TO  THE  MEMORY  OF 
MY  DEAR  MOTHER 


802229 


CONTENTS 

CHAPTER  PAGE 

I — Importance   of  Instrumental  Instruction...  13 

II — Preparation  of  Teachers 27 

III — How  to  Organize  Instrumental  Instruction  .  .  30 
IV — Co-operation   of  Superintendent,    Board    of 

Education,  and  Principal 35 

V — Instruction  in  the  Elementary  Schools 37 

VI — Instruction  in  the  High  Schools 62 

VII — Bands  in  the  Elementary  Schools 82 

VIII— Bands  in  the  High  Schools 92 

IX — Official  Musical  Organizations 97 

X — Necessity  of  Supplying  Instruments 104 

XI — Conducting 108 

XII — Suggestions  about  Tuning 136 

XIII — Seating  Plans  for  Orchestras  and  Bands ....  143 

XIV — How  to  Assemble  an  Orchestra  Score 149 

XV — Transposition 154 

XVI — How  to  make  a  Conductor's  Part 173 

XVII— Summary 175 

XVIII — last  of  Band  and  Orchestra  Music,  and  In- 
struction Books 178 

APPENDIX — 

Bonding  of    Instruments   supplied   by  the    School 

Department 191 

Conditions  governing  pupils  who  receive  free  instru- 
mental instruction 193 

List  of  Books  suggested  for  Study 195 

Library  Plan   196 


ILLUSTRATIONS 

EAGE 

1 — Violins 38 

2 — Viola  and  Violin 39 

3 — Violoncellos 40 

4 — String  Basses 41 

5— Flutes 43 

6— Clarinets 44 

7 — Cornets 45 

8 — Horn  and  Mellophone 46 

9— Slide  Trombone  and  E-Flat  Tuba 47 

10 — Drums,  Tambourine  and  Bells 48 

11 — Oboe  and  Bassoon 67 

12 — C-Melody  Saxophone 83 

13 — Technical  High  School  Orchestra 49 

14— Technical  High  School  Band 93 

15 — Elementary  School  Band 98 

16 — Elementary  School  Orchestra 100 

17 — Trombones 85 

18 — Saxophone  Quartet 9,5 


PREFACE 

Since  the  introduction  of  music  into  the  public 
Schools  some  forty  odd  years  ago,  it  has  gained 
recognition,  and  a  position  of  prominence  in  the 
field  of  education.  As  the  realization  of  its  im- 
portance increased,  its  activities  have  been  ex- 
panded correspondingly  and  now  include  instru- 
mental music.  To  assist  those  who  are  interested 
in  this  phase  of  educational  activity  and  instruc- 
tion, this  volume  is  offered,  with  the  hope  that  all 
who  read  its  pages  may  find  therein  some  practical 
suggestions. 

As  there  are  numerous  text-books  available  for 
those  teachers  who  are  professionally  well  equip- 
ped, the  teacher  who  has  no  knowledge  of  instru- 
mental music  needs  assistance,  and  the  particular 
aim  of  this  book  is  to  meet  that  need. 

Acknowledgment  is  made  for  the  helpful  criti- 
cism and  suggestions  made  by: 

LIEUTENANT  HERMAN  TRUTNER,  JR.,  U.  S.  A. 
Ret.,  Supervisor  of  Bands  and  Orchestras,  Oak- 
land Schools; 

MR.     FRANKLIN    CARTER,     Instrumental     In- 
structor, Oakland  High  School; 
MR.    GUY   HUDGINS,    Assistant    Head    of    the 
English  Department,  Technical  High  School; 
Miss  EMMA  SCHNEIDER,  Head  of  the  English 
Department,  Oakland  High  School; 
Miss  BLANCHE   O'NEIL,    Assistant   Supervisor 
of  Music,  Oakland  Public  Schools; 
Miss   EDNA   WORLEY,   Instructor   in   English, 
Vocational  High  School; 

Miss  ADA  M.  FLEMING,  Dean  of  the  National 
Summer  School,  Chicago. 


INTRODUCTION 

A  FEW  OPINIONS  ON  Music 

"The  place  which  music  now  holds  in  school 
programs  is  far  too  small.  By  many  teachers  and 
educational  administrators  music  and  drawing 
are  still  regarded  as  fads  or  trivial  accomplish- 
ments not  worthy  to  rank  as  substantial  educa- 
tional material;  whereas,  they  are  important 
features  in  the  outfit  of  every  human  being  who 
means  to  be  cultivated,  efficient,  and  rationally 
happy." 

CHARLES  W.  ELIOT, 
President  Emeritus, 
Harvard  University. 

"You  ask  me  if  music  is  a  human  essential. 
To  the  Eskimo  or  South  Sea  Islander,  no.  To 
the  American,  Frenchman,  Englishman,  Italian, 
yes.  Mere  existence  demands  nothing  but  food, 
drink,  clothing,  and  shelter.  But,  when  you 
attempt  to  raise  existence  to  a  higher  plane,  you 
have  to  nourish  the  brain  as  well  as  the  body. 
I  don't  think  there  is  any  sane  person  who  would 
say  that  books  are  unessential  to  the  maintenance 
of  our  civilization  in  America.  Yet  after  its 
school  days,  probably  less  than  one-fourth  of  our 
population  reads  wath  serious  purpose.  Music 
is  more  essential  than  literature  for  the  very 
simple  reason  that  music  is  capable  of  releasing  in 
practically  every  human  mind  enlightening  and 


10          PUBLIC   SCHOOL    ORCHESTRAS   A\D   BANDS 

ennobling  thoughts  that  literature  evokes  in  only 
the  most  erudite  minds." 

THOMAS  A.  EDISON 

-From  The  Etude. 

"The  aim  of  the  teacher  of  fine  arts  is  almost 
equally  clear.  If  he  gives  instruction  in  painting, 
singing,  or  playing  an  instrument,  it  is  plain  that 
the  instructor  must  guide,  but  the  student  must 
perform;  that  no  matter  how  much  the  master 
may  know  of  the  theory  of  the  art,  that  knowledge 
will  have  meaning  for  the  student  and  can  be 
imparted  to  him  only  in  connection  with  his  own 
doing;  that  all  formal  lessons,  such  as  learning 
to  read  the  score,  finger  exercises,  the  manipula- 
tion of  the  stops,  the  tuning  of  the  instrument, 
etc.,  are  but  necessary  parts  of  a  larger  process 
and  without  significance  by  themselves. 

The  skill  which  is  sought  is  hiibit,  and  not  a 
habit  in  general,  but  a  particular  doing  condi- 
tioned by  its  own  particular  body  of  sensory  ele- 
ments. This  habit  will  not  come  as  a  by-product 
of  general  aimless  familiarity  with  an  instrument, 
but  only  by  day -by-day  striving  to  master  its  use. 
—Education  has  much  to  learn  from  those  who 
train  themselves  consciously  to  a  marked  degree 
of  skill. 

They  are  not  confused  by  obscurity  of  purpose, 
there  is  little  delusion  among  them  as  to  wrhat  the 
teacher  must  do  and  what  the  pupil,  they  do  not 
make  the  error  of  assuming  that  the  best  way  to 
learn  to  play  the  piano  is  to  begin  with  the  violin. 
The  relation  of  theory  to  practice  is  fairly  plain 
to  them,  and  there  is  but  little  mistaking  of  the 
procedure  of  habit-forming  or  of  the  place  and 
function  of  interest  in  learning.  They  do  not 


INTRODUCTION  11 

split  the  sensory-motor  arc  by  saying  that  the 
purpose  of  instruction  is  to  acquire  methods  of 
working  with  one  subject  matter  in  order  to  apply 
them  to  another.  With  them  every  subject  mat- 
ter calls  for  its  own  series  of  reactions,  and  every 
series  of  motor  activities  is  called  forth  by  its  own 
unique  perceptual  series. 

What  kind  of  knowledge  of  music  does  anyone 
possess  who  has  only  a  general  and  no  particular 
knowledge  of  it?  And  what  kind  of  an  athlete 
is  he  who  has  a  general  knowledge  of  athletics 
but  no  particular  form  of  athletic  skill? 

The  general  has  grown  out  of  the  particular  and 
cannot  exist  apart  from  it.  A  general  training  is 
either  a  combination  of  several  particular  forms 
of  training  such  as  would  enable  a  musician  to 
play  upon  several  different  instruments,  or  an 
athlete  to  contest  in  several  different  kinds  of 
athletic  events,  or  it  is  such  a  nondescript  and 
puerile  knowledge  about  these  fields  as  to  be  syn- 
onymous merely  with  a  vague  acquaintance  with 
them — To  know  anything  without  being  able  to 
do  it  is  to  know  it  poorly. — All  knowledge  is 
preconditioned  by  a  doing  on  the  part  of  the 
learner. 

One's  knowledge  grows  in  proportion  to  one's 
doing. 

It  is  experience  which  makes  the  days  of 
men  proceed  according  to  art,  and  inexperience 
according  to  chance;  and  different  persons  in  dif- 
ferent ways  are  proficient  in  different  arts." 

—(From  What  is  Education,  by  Ernest  Carroll 
Moore,  sometime  Professor  of  Education,  Harvard 
University). 


12         PUBLIC  SCHOOL   ORCHESTRAS   AND   BANDS 

The  foregoing  statements  prove  conclusively 
that  the  study  of  music  has  a  place  in  education ; 
it  has  a  place  in  the  life  of  the  child;  it  has  a  place 
in  the  life  of  the  man.  Its  "experience"  must  be 
gained  in  childhood  that  it  may  "proceed  ac- 
cording to  art"  in  manhood.  The  technique  of 
an  instrument  or  the  series  of  motor  activities 
which  produce  ability  to  "do"  must  be  learned 
in  youth  by  "doing,"  and  that  "doing"  must 
become  a  "habit"  by  daily  practice  until  in  man- 
hood it  develops  "skill."  "Skill  in  doing"  is 
the  chief  concern  of  education,  as  one's  knowledge  is 
measured  not  by  his  "appreciation  of"  but  by 
his  "ability  to  do"  founded  upon  actual  "ex- 
perience. " 


Public  School  Orchestras 
and  Bands 

CHAPTER  I 

IMPORTANCE  OF  INSTRUMENTAL  INSTRUCTION 


STUDY  OF  ]s^0  study  included  in  the  curriculum 
of  either  grade  or  high  schools  has  so 
much  general  educational  value  as  the  study 
of  music.  Theory  about  the  subject  immedi- 
ately becomes  practice  in  the  subject.  Learn- 
ing how  to  do  is  followed  by  the  doing  of  that 
which  the  pupil  would  learn.  The  practice  of 
doing  must  become  a  daily  habit.  A  daily  habit 
of  practice  compels  concentration.  Concentration 
is  that  power  by  which  and  through  which  all  the 
great  achievements  that  mark  the  progress  of  art 
and  science  have  been  accomplished.  The  reading 
of  music  notation  requires  a  greater  degree  of 
combined  speed  and  accuracy  than  is  necessary  in 
almost  any  other  vocation. 

Especially  is  accuracy  of  vision  necessary  in 
reading  instrumental  music:  in  piano  music, 
when  two  staves  must  be  read;  in  organ  music, 
when  three  staves  must  be  included  in  the  range 
of  vision,  and  in  the  last  and  final  stage  of  score- 
reading,  when  at  least  fourteen  staves  with  a 
notation  as  complex  and  difficult  as  Greek  covering 
the  entire  page  must  be  visualized  at  once. 

13 


14          PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

Valuable  as  is  the  training  of  the  eye  growing 
out  of  the  study  of  music,  the  greatest  power  of 
minute  discrimination  resulting  from  this  study 
is  probably  conceded  to  the  ear.  No  amount  of 
theory  about  tone,  such  as  is  given  in  physics,  can 
ever  train  the  ear  to  make  fine  tonal  distinctions, 
but  experience  as  a  performer  on  some  musical 
instrument  develops  keen  power  of  tone  dis- 
crimination. 

WHY  INSTRUCTION  Music    appeals    to    all    normal 

E^S^^Y^  and  tV-rt  of 

SCHOOL  SYSTEM  IN  children  are  normal.  Iney  nave 
THE  UNITED  STATES  a  right  therefore  to  instruction 
in  music,  and  should  be  offered 
an  opportunity  to  learn  to  play  instruments  and 
the  time  is  never  more  propitious  than  when  they 
are  students  in  the  elementary  schools.  If  the 
schools  are  to  educate  (and  it  is  agreed  that  that 
is  their  prime  function),  they  should  educate  for 
an  avocation  as  well  as  a  vocation. 

A  child  has  just  as  much  right  to  devote  some 
time  to  the  study  of  a  subject  which  he  may  enjoy 
during  his  leisure  time,  as  he  has  to  devote  the 
major  portion  of  his  time  in  school  to  mastering 
subjects  that  have  only  a  monetary  valuation, 
and  are  used  solely  as  a  means  of  livelihood. 

A  large  number  of  persons  besides  those  who 
are  studio  teachers,  are  engaged  in  music  as  a 
business.  Players  in  symphony  orchestras  re- 
ceive from  forty-five  to  one  hundred  dollars  a  week 
according  to  their  ability  or  the  responsibility 
of  the  position.  Thirty  to  forty -five  dollars  a 
week  is  an  average  rate  for  playing  in  theatre, 
cafe,  or  hotel  orchestra.  Contractors  for  en- 
gagements and  leaders  of  movie  orchestras  are 


INSTRUMENTAL   INSTRUCTION  15 

paid  larger  salaries  according  to  the  size  of  the 
orchestra  they  lead,  the  responsibility  of  the  en- 
gagement, and  the  hours  of  service  rendered. 
One  hundred  dollars  a  week  is  a  small  salary  for 
competent  leaders. 

It  must  be  conceded  that  the  school  supported 
by  the  people  is  the  natural  source  of  all  instruc- 
tion and  is  the  one  logical  place  where  all  study 
should  receive  its  first  impetus  and  its  first  in- 
spiration. 

In  every  building  there  are  rooms  in  which 
instrumental  lessons  may  be  given.  If  a  class 
room  is  not  available,  it  is  usually  possible  to 
find  some  extra  room  in  the  building  or  unused 
place  in  the  auditorium  which  may  be  utilized  for 
teaching  purposes. 

RIGHT  OF  EVERY    Many  persons  look  upon  music 


f 
MUSIC  ment  as  an  accomplishment,  per- 

haps, but  not  as  an  educational 
asset.  It  is  both,  whether  or  no  the  child  who 
studies  music  becomes  a  professional  musician 
and  devotes  his  entire  attention  to  the  subject. 

Many  children  enjoy  only  music  that  is  ready- 
made,  mechanical  players  or  the  records  of  band 
and  orchestra  music;  others  covet  the  pleasure 
of  making  music  and  participating  in  its  per- 
formance. It  often  happens  that  the  children 
whose  parents  can  well  afford  to  furnish  them 
with  the  best  instruction  available  are  not  mu- 
sically inclined  nor  at  all  disposed  to  exert  them- 
selves to  learn  anything  that  can  be  purchased 
already  made.  The  very  fact  that  parents  pro- 
vide so  many  unnecessary  time-wasting  pleasures 
for  young  people  tends  to  destroy  any  incentive 


16          PUBLIC  SCHOOL   ORCHESTRAS   AND   BANDS 

on  their  part  either  to  work  or  to  study  if  they  can 
possibly  evade  any  such  ordeal. 

On  the  other  hand,  children  whose  parents  can- 
not afford  to  give  them  a  musical  education  often 
yearn  for  such  instruction.  Their  very  craving 
for  such  training  is  an  indication  that  they  possess 
the  first  essential  and  natural  requisite  for  achieve- 
ment in  any  line  of  education  and  that  is,  the 
"disposition  to  learn"  on  the  part  of  the  student. 
As  these  conditions  exist  in  every  community, 
it  is  imperative  that  those  pupils  who  wish  to 
study  instrumental  music  should  have  the  op- 
portunity. 

The  children  who  have  few  advantages  offered 
to  them  as  additional  accomplishments  to  their 
education  because  of  insufficient  resources  at  home 
to  procure  such  instruction,  have  reason  to  be 
given  equal  advantage  with  the  more  fortunate 
children;  and  these  advantages  should  come  from 
the  public  schools  where  instruction  in  all  subjects 
is  offered  to  all  students  alike  at  public  expense. 

INSTRUCTION  SHOULD    Un(kr    the    free-instruction 

scEHooi!sN  THE  PUBLIC   Plan>    the    schools    discover 

latent  talent  and  thus  cre- 
ate a  demand  for  music  instruction,  as  they  have 
an  opportunity  to  reach  children  who  otherwise 
would  not  be  encouraged  to  take  up  the  study  of 
music.  It  has  been  proved  in  many  cases  that 
have  come  under  the  observation  of  the  author, 
that  pupils  who  have  had  all  of  their  preliminary 
instruction  in  the  schools,  and  passed  through 
the  stages  of  development  which  are  always  more 
or  less  irksome  to  both  student  and  teacher,  have 
made  such  consistent  progress  in  the  study  that 
parents,  convinced  of  their  serious  interest  have 


INSTRUMENTAL   INSTRUCTION  17 

both  purchased  better  instruments  and  placed  the 
children  with  private  teachers  for  further  training. 
The  schools  then  should  undertake  the  task  of 
developing  latent  talent,  of  arousing  the  pupil  to 
activity,  of  preparing  him  to  carry  on  his  educa- 
tion with  the  expert  teacher.  The  student  should 
go  from  the  schools  well  grounded  in  technique, 
able  to  read  music  readily  and  prepared  for  the 
more  advanced  training  that  the  special  teacher 
is  equipped  to  give. 

THE  DELUSION  OF    Tne    United    States    has    long 

FOREIGN  TRAINING  been  infested  with  &  mania  f?r 

imported  things.  Merchants  say  that  the  public 
demands  and  will  buy  inferior  articles  if  it  is 
assured  that  they  are  imported.  This  mania  has 
shown  itself  in  the  number  of  students  who  have 
"gone  abroad"  each  year  to  secure  the  foreign 
stamp  on  their  musical  education.  It  has  mani- 
fested itself  also  in  the  number  of  foreign  musi- 
cians who  have  been  imported  to  fill  positions  in 
our  leading  symphony  orchestras.  There  is  in 
this  case  some  reason  for  the  mania.  The  supply 
of  expert  or  even  experienced  players  at  home  has 
not  equaled  the  demand,  and  the  necessary 
players  have  had  to  be  imported  to  complete  the 
instrumentation  of  full  orchestras. 

The  American  public  is  largely  responsible 
for  this  lack  of  native  performers.  It  may  be  a 
lack  of  information  in  regard  to  the  unusual  in- 
struments of  the  orchestra,  or  it  may  be  ignorance 
plus  indifference  concerning  these  instruments. 
In  any  event  little  encouragement  has  ever  been 
given  here  to  the  study  of  the  unusual  instruments. 

The  American  public  is  a  melody -loving  public. 
When  parents  purchase  instruments  for  their 


18         PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

children,  they  buy  those  instruments  on  which 
the  melody  parts  are  played,  the  piano,  violin, 
cornet,  trombone,  clarinet  and,  quite  recently, 
the  saxophone.  So  long  as  the  solo  instruments 
continue  to  receive  all  the  patronage  in  America 
just  so  long  will  it  be  necessary  to  import  players 
from  those  nations  and  countries  that  know  the 
importance  of  the  harmony  instruments  as  well 
as  of  the  unusual  solo  instruments. 

A  close  inspection  of  the  personnel  of  any  or 
all  of  the  symphony  orchestras  of  the  United 
States,  numbering  about  thirty,  will  disclose  the 
startling  fact  that  almost  90%  are  foreigners. 
With  very  few  exceptions,  the  conductors,  too, 
are  of  foreign  birth  and  training.  We  Americans 
demand  that  the  imported  stamp  must  be  visible 
in  the  name,  appearance  and  nationality  before 
we  give  our  approval.  During  the  recent  war 
many  disclosures  proved  conclusively  that  these 
foreigners  were  "among  us"  but  not  "of  us." 
Almost  every  prominent  symphony  orchestra 
dismissed  from  its  ranks  from  one  to  fifteen  players 
who  were  "foreign"  to  our  ideals  and  aims.  The 
conductorship  of  two  of  the  most  important 
American  orchestras  was  occupied  by  alien  ene- 
mies, hyphenated  to  the  superlative,  and  even 
proved  beyond  question  to  be  acting  as  enemy 
agents.  These  musicians  had  to  be  imported 
because  we  had  failed  to  develop  in  our  own 
country  enough  proficient  and  capable  players  to 
meet  our  musical  growth. 

In  view  of  these  facts,  it  is  high  time  that  the 
citizens  of  the  United  States  and  the  school 
authorities  in  particular,  should  assume  the  re- 
sponsibility of  developing  proficient  players  among 
our  own  people.  We  Americans  are  as  intelli- 


INSTRUMENTAL   INSTRUCTION  19 

gent,  as  keen,  as  accomplished  as  the  German, 
the  Italian,  the  Frenchman.  But  are  we  as 
musical? 

When  will  American  singers  and  players  be 
provided  in  sufficient  numbers  to  furnish  opera 
and  symphony  for  the  "music-lovers"  at  reason- 
able prices?  When  will  good  music  be  the  prop- 
erty of  the  "people"  instead  of  the  "pet"  of  the 
wealthy  few?  When  will  good  music  be  per- 
formed in  all  communities  instead  of  in  a  few 
large  cities?  When  shall  we  begin  to  develop 
good  music  among  our  own  people?  When  shall 
we  be  able  to  acclaim  America  as  a  musical 
nation? 

RECOGNITION  OF      jn    science,    commerce,    inven- 

OUR  OWN  ABILITY 


we  lead  the  world,  but  in  art  and  artists  we  assume 
that  nothing  is  good  unless  it  is  imported.  We 
lack  confidence  in  our  own  ability.  If  great 
musicianship  is  lacking  in  America  as  some  music 
critics  aver,  it  is  only  because  we  have  failed  to. 
develop  it.  The  talent  is  here,  the  acumen  and 
ability  to  assimilate  instruction  are  here,  but  it 
cannot  thrive  unless  we  as  a  nation  pay  more  at- 
tention to  its  development,  by  recognizing  musi- 
cians who  are  worthy,  by  encouraging  those  who 
are  talented,  and  by  assisting  those  who  lack  funds 
to  pursue  their  studies. 

Parents  do  not  know  of  the  importance  of  the 
viola,  the  'cello,  flute,  French  horn,  oboe,  bassoon, 
string  bass  or  drums.  Unless  the  schools  assume 
the  responsibility  of  acquainting  the  pupils  with 
these  instruments,  of  furnishing  free  instruction 
and  permitting  free  use  of  such  instruments  as 
the  parents  will  not  buy,  we  can  never  expect  to 


20         PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

find  our  way  out  of  our  present  musical  dilemma; 
we  can  never  blaze  the  way  to  America's  eminence 
in  music,  and  can  never  expect  to  assume  the 
lead  in  art  as  we  do  in  commerce  unless  we  de- 
velop, not  only  our  talented  pupils,  but  also  bring 
within  the  reach  of  every  child  some  fundamental 
knowledge  of  music  and  active  participation  in 
the  performance  of  both  vocal  and  instrumental 
music. 


WELCOME  FOR  FOREIGN-  By  no  means  should  a 
BORN  TEACHERS  musician  be  discredited 

merely  because  he  is  foreign-born.  Excellent 
musicians  of  all  kinds  have  come  to  America  to 
become  Americans  and  it  is  no  longer  necessary 
for  our  students  to  go  "abroad."  Encourage 
the  slogan,  "Stay  at  home  and  study."  However, 
the  private  teachers  in  America  are  charging  such 
prohibitive  prices  for  instruction  and  the  con- 
servatories have  become  such  "dividend-seeking" 
institutions  that  a  musical  education  in  America 
is  only  possible  for  those  whose  income  is  generous. 
For  this  reason  alone,  instruction  in  vocal,  in- 
strumental and  piano  music  should  be  offered  free 
in  the  elementary  schools  and  continued  in  the 
high  schools  with  the  addition  of  harmony, 
history  and  ensemble  playing,  or  the  meagre 
musical  education  now  existing  will  lapse  into 
permanent  decay.  The  schools  should  be  manned 
with  expert  teachers  and  steps  be  taken  to  estab- 
lish a  National  Conservatory  of  Music,  a  con- 
servatory supported  by  the  Government,  with  all 
instruction  free  to  all  qualified  high  school 
graduates. 

The  American  is  not  frivolous,  but  he  likes  to 
be  amused.     Having  no  avocation  to  occupy  his 


I  \STItr  MKNTAL   INSTRUCTION  21 

leisure  time,  he  wastes  many  valuable  hours 
that  could  be  spent  in  a  more  profitable  manner 
if  he  only  had  some  fine  diversion  as  a  relaxation 
from  strenuosity.  The  advent  of  cheap  amuse- 
ment is  a  poor  substitute  for  the  fireside  com- 
panionship of  former  days.  Music  in  the  home 
has  taken  its  place  among  the  things  "we  talk 
about,"  which  existed  in  the  "good  old  days." 
If  either  the  father  or  mother  have  had  musical 
training  in  their  youth,  the  children  almost  in- 
variably are  given  musical  instruction  of  some 
kind.  Our  progress  as  a  musical  nation  must 
depend  upon  securing  the  interest  and  co-operation 
of  the  parents. 

It  will  again  be  the  duty  of  the  schools  to  see 
that  the  present  generation  takes  music  into  the 
home  by  instructing  the  children  now  in  school. 
\Ve  must  become  a  nation  that  encourages  and 
fosters  music  in  the  home;  we  must  not  be  lack- 
ing in  appreciation  of  this  art  nor  in  supplying 
proficient  performers  with  the  ability  to  produce  it. 

There  is  need  for  more  music  and  more  musical 
activities  that  will  give  the  amateur  some  oppor- 
tunity to  make  music  for  himself.  There  is  al- 
together too  much  music  by  "others"  and  not 
enough  that  "is  made  by  us."  Subscribers  to 
symphony  concert  series  pay  a  good  price  for 
their  tickets  and  imagine  that  they  are  deriving 
the  most  pleasure  in  listening  to  the  concert,  while 
in  reality  the  players,  though  working  and  re- 
ceiving compensation  for  their  services  derive 
infinitely  more  pleasure  from  the  "joy  of  partici- 
pation in  the  concert,"  than  comes  to  those  who 
have  no  ability  except  to  "pay  and  listen." 


22          PUBLIC  SCHOOL   ORCHESTRAS   AND   BANDS 

NEED  FOR  TRAINED  In  tne  town  band,  the  army 
GofDEpER^R°MAERREs  ™*  navy  bands  and  even  in 
WITH  ROUTINE  *-ne  symphony  orchestras  ot 

EXPERIENCE  the  large  cities  the  demand  for 

experienced  players  is  urgent. 
No  matter  how  well  a  man  may  play  an  instru- 
ment, he  must  have  had  the  routine  and  the  ex- 
perience of  playing  with  others,  before  he  is  of 
value  in  a  musical  organization.  As  this  routine 
must  be  acquired  before  the  player  can  be  ad- 
mitted to  a  trained  organization,  it  is  essentially 
the  province  and  duty  of  every  school  system  in 
the  United  States  to  establish  a  music  department 
in  each  high  school  wherein  the  opportunity  to 
gain  this  orchestral  and  band  routine,  under  ex- 
pert teachers,  is  offered  to  the  student  while  he 
is  yet  pursuing  his  other  academic  studies. 

The  schools  will  never  do  greater  service  for 
young  people  than  by  instructing  them  in  the 
discipline  and  routine  of  ensemble  playing  during 
both  the  early  and  mature  years  of  their  school 
life.  While  receiving  this  training,  the  students 
are  deriving  a  benefit  as  well  as  a  pleasure  from 
it  and  are  moreover  able  to  afford  pleasure  and 
entertainment  to  others.  It  is  through  such  daily 
drill  that  the  pupil  develops  into  an  individual 
who  is  a  perfect  unit  in  a  group.  Social  service 
becomes  a  daily  habit  through  practical  experience 
in  group  solidarity  that  finds  its  most  perfect 
exemplification  in  the  orchestral  ensemble. 

There  is  no  substitute  for  military  training 
which  will  achieve  the  same  results  in  as  effective 
a  manner,  as  the  rehearsal  of  a  band  or  an  or- 
chestra under  a  competent  leader.  A  good  band 
can  hold  the  attention  of  a  group  of  husky  boys 
for  an  hour  at  a  time,  and  through  this  attention 


INSTRUMENTAL   INSTRUCTION'  2:5 

generate  a  spontaneous  interest  in  the  subject  at 
hand  without  the  need  of  artificial  stimulation. 

NECESSITY  FOR  If  you  question  a  man  who  has 
BEGINNING  STUDY  arrived  at  maturity  as  to  his 
attitude  toward  music,  you  will  frequently  receive 
such  replies  as  these:  "I  do  not  play  at  all,  but  I 
wish  that  I  could,  for  I  enjoy  music  very  much. 
I  had  an  opportunity  to  study  music  when  I  was 
young,  but  I  didn't  like  to  practise,  as  I  was  too 
busy  playing  ball  and  having  a  good  time.  Now 
I  wish  that  my  parents  had  made  me  stick  to  it, 
for  I  want  to  play  and  am  too  old  to  begin  now." 
So  often  have  these  rejoinders  or  others  of  similar 
tenor  been  received  by  the  author,  that  the 
feasibility  of  keeping  a  boy  "at  it"  is  worthy  of 
consideration. 

These  factors  must  be  considered  and  considered 
dispassionately  too,  in  planning  consistent  proce- 
dure in  view  of  the  opinion  of  so  large  a  majority 
of  men  who  want  music  later  in  life.  The  large 
majority  of  "boys"  are  now  too  busy  "playing 
ball"  to  devote  any  time  to  "wearisome  practice" 
unless  they  are  urged  to  do  so  by  a  strong  hand  at 
home  or  by  an  interest  away  from  home.  In  the 
experience  of  the  author,  no  individual  who  has 
had  musical  instruction  in  his  younger  days  has 
ever  expressed  a  regret  that  he  had  learned  to  play. 
Many  persons  do  not  now  keep  up  their  practice; 
many  who  have  learned  how  to  play  do  not  now 
continue  this  activity  either  from  force  of  home 
duties  or  for  "business  reasons."  None,  however, 
have  ever  deplored  their  musical  training;  none 
have  retained  an  antipathy  toward  the  subject. 
It  is  seemingly  a  correct  assumption  then  that 
parents  are  justified  in  requiring  children  to  con- 


24         PUBLIC  SCHOOL  ORCHESTRAS   AND  BANDS 

tinue  their  study  and  practice  of  music  although 
they  may  rebel  at  having  to  forego  some  play. 

Could  one  secure  information  from  the  large 
group  of  performing  solo  artists  now  before  the 
public,  as  to  the  real  force  which  finally  made 
them  "great  among  the  greatest,"  in  almost  every 
instance,  the  answer  would  be  either  the  mother 
or  the  father.  If  the  great  artists  are  mostly 
foreigners,  it  is  probably  due  to  the  difference  of 
authority  in  the  home. 

The  father  and  mother  are  supreme  in  the 
foreign  home  and  the  children  are  supreme  in  the 
American  home.  If  an  American  child  does  "not 
want  to  do"  anything  that  requires  "work,"  he 
simply  outwits  his  parents.  In  the  foreign  home 
the  child  knows  that  the  parents'  word  is  law  and 
that  he  is  to  study  his  music,  and  not  only  to 
learn  it  well  but  to  excel,  and  excel  early  in  life. 
The  American  children  are  fully  ten  years  behind 
the  foreign  children  of  the  same  age  in  their  musical 
ability.  True,  it  may  be  that  the  foreign  children 
leave  school  early  and  devote  their  attention  to 
the  one  subject,  but  even  in  so  doing,  they  some- 
how acquire  a  good  education  either  from  associa- 
tion or  by  co-ordination  of  ideas  and  habits  estab- 
lished through  hourfe  of  practice  and  forced  con- 
centration. 

America  will  have  to  devise  some  scheme  by 
which  she  can  interest  the  children  in  music 
earlier  in  life;  by  which  she  can  see  that  they  mas- 
ter the  difficulties  of  technique,  the  mysteries  of 
harmony  and  the  facts  of  history,  at  a  much  faster 
pace  than  they  are  now  mastering  them  or  have 
done  in  the  past,  or  she  will  still  have  to  look  to 
the  "Old  Country"  for  both  her  artists  and  her 
performers.  The  American  is  almost  old  enough 


INSTRUMENTAL   INSTRUCTION  25 

to  be  buried  before  he  has  acquired  sufficient 
musical  technique,  training,  and  "atmosphere" 
to  be  included  among  those  who  "have  arrived.'" 

This  can  be  accomplished  only  by  a  realization 
on  the  part  of  the  parents  of  the  importance  of  their 
responsibility.  Children  should  be  taught,  di- 
rected, and  told  what  to  do,  and  be  made  to  do 
it.  A  strong  hand  is  needed  at  home.  Young 
America  has  been  allowed  to  "grow  up"  and  not 
to  be  "raised."  The  training  camps  were  an 
example  of  efficiency  in  training  persons  to  do 
things  well  and  quickly.  No  questions  were 
asked.  Men  did  as  they  were  told.  They 
learned  in  doing.  The  Government  has  demon- 
strated to  both  parents  and  school  systems  that 
"intensified  training"  can  be  made  to  produce 
results.  Wherever  there  is  authority,  there  is 
discipline,  and  therefrom  come  results. 

Every  parent  has  the  welfare  of  his  children 
at  heart.  Future  ability  of  any  kind  demands  a 
sacrifice  at  the  time  the  student  is  learning.  No 
normal  boy  of  his  own  volition  ever  preferred 
practice  to  play.  No  individual  likes  "exercises"; 
yet  exercises,  uninteresting  at  best,  must  be  used 
to  develop  the  stubborn  muscles  and  to  attain 
facility  in  technique.  It  is  remarkable  how 
quickly  children  learn  even  with  the  slip-shod 
practice  that  most  of  them  do.  Those  pupils  who 
make  the  most  rapid  and  consistent  progress  are 
those  whose  parents  insist  upon  a  daily  period  of 
practice.  Home  supervision  of  study  in  any  line 
is  of  prime  importance.  Fortunate  is  the  boy  or 
girl  whose  parents  are  strict  enough  to  establish 
habits  of  practice,  even  against  the  child's  natural 
disinclination  to  do  any  work.  The  large  number 
of  "  studv-slackers "  in  the  schools  is  due  to  slack 


26          PUBLIC  SCHOOL   ORCHESTRAS   AND   BANDS 

control  at  home,  a  lack  of  interest  in  what  the 
child  is  doing,  and  a  more  frequent  lamentable 
desire  on  the  part  of  the  parents  to  permit  the 
children  to  have  "an  easier  time  than  they  did." 
The  future  of  music  in  the  United  States  must 
look  for  more  co-operation  on  the  part  of  parents 
in  directing,  maintaining,  and  establishing  the 
habit  of  practice,  so  that  the  child  may  "grow  in 
grace  and  strength."  He  will  later  realize  that 
while  the  parental  supervision  of  his  practice 
may  at  times  have  seemed  to  be  very  strict,  yet 
the  power  and  ability  attained  in  later  years  are 
of  more  value  than  the  lost  play  which  he  really 
did  not  lose,  but  only  missed.  If  the  parents  are 
too  busy  with  the  affairs  of  the  world  to  supervise 
their  children's  practice  (as  happens  in  too  many 
instances),  it  must  devolve  upon  the  schools  to 
assume  the  responsibility  of  parents  and  to  secure 
a  certain  amount  of  practice  each  day  by  making 
the  lesson  period  a  period  of  practice  as  well  as  of 
new  instruction. 


CHAPTER  II 

PREPARATION  OF  TEACHERS 

TEACHER  SHOULD  To  secure  the  best  results  from 
PLAY  AN  ORCHES-  instrumental  instruction  in  mu- 
TRAL  INSTRUMENT  sic  in  the  schools,  the  teacher  in 
charge  of  such  instruction  should  be  able  to  play 
some  instrument,  preferably  the  violin.  Some 
very  creditable  playing  has  been  done  by  school 
orchestras  where  the  teacher  in  charge  plays  only 
the  piano.  These  cases,  however,  are  more  often 
the  exception  than  the  rule. 

A  teacher  can  direct  a  group  of  professional 
players  and  produce,  in  a  few  rehearsals,  very 
satisfactory  results.  This  same  teacher,  however, 
finds  that  the  problem  of  securing  satisfactory 
results  from  an  orchestra  in  a  high  school  presents 
difficulties  which  cannot  be  overcome  so  easily. 
All  the  players  are  young  and  inexperienced. 
They  do  not  make  mistakes  intentionally,  but  they 
do  not  know  and  must  be  taught.  It  takes  a 
capable  teacher  to  make  ensemble  players  out  of 
amateurs.  This  is  the  test  of  the  teacher.  If  he 
knows  how  compositions  should  be  played,  how 
to  strengthen  the  weak  players,  how  to  unify  the 
playing  of  the  harmonic  instruments  and  how  to 
secure  accurate  playing  of  secondary  part  >  usually 
so  neglected  by  amateur  performers,  he  is  a  gifted 
leader  of  young  people. 

Children  can  play  with  musicianly  finish  and 
feeling;  they  can  play  good  music  requiring 
technical  skill  and  execution;  they  can  respond 

27 


28          PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

to  suggestion  as  quickly  as  older  persons.  Their 
playing,  style,  interpretation,  tempo,  and  tone 
reflect  the  ideal  and  the  standard  that  the  leader 
imposes  upon  and  demands  of  them.  Besides, 
pupils  are  easily  led,  and  if  they  secure  a  fairly 
good  playing  ability,  they  are  ready  and  anxious 
to  acquire  more  command  of  the  instrument. 
Children  are  naturally  curious,  and  an  instrument 
is  a  curiosity.  The  mastery  of  the  many  keys  is 
an  innovation  in  which  the  interest  of  the  pupil 
never  lags.  Such  mastery  is  even  interesting  to  a 
teacher  and  familiarity  with  the  various  instru- 
ments of  the  orchestra  "never  breeds  contempt." 

A  KNOWLEDGE  OF  ONE  While  it  is  quite  unusual  to 
INSTRUMENT  OF  EACH  find  a  teacher  who  can  play 

GROUP  IS  VALUABLE  R       f    ^       instruments    of 

TO  THE  TEACHER  f'1  *™ 

the    orchestra,    it    is    easy 

for  a  teacher  who  can  play  one  instrument  of  each 
group  to  learn  the  technique  of  the  other  instru- 
ments sufficiently  well  to  correct  faulty  fingering 
and  to  guide  the  pupils  in  the  proper  mechanical 
manipulation  of  all  the  instruments.  Moreover, 
if  a  teacher  knows  the  fingering  of  all  the  instru- 
ments and  can  play  even  a  little  on  each  instru- 
ment, he  can  start  and  continue  the  instruction 
of  the  pupil  until  he  is  ready  and  able  to  secure 
a  special  teacher  to  pursue  his  studies  to  a  more 
advanced  state  of  perfection. 

This  ability  of  the  teacher  is  his  greatest  asset. 
So  many  pupils  know  nothing  at  all  of  the  'cello, 
viola  and  string  bass,  or  the  oboe,  bassoon,  and 
French  horn,  that,  if  they  can  be  taught  in  the 
schools  how  to  play  these  instruments,  it  is  pos- 
sible to  recruit  players  for  all  the  instruments 
needed  in  the  orchestra.  The  teacher  so  prepared 


PREPARATION   OF    TEACHERS  29 

will  produce  the  most  satisfactory  results,  and 
any  teacher  who  is  really  interested  in  the  prob- 
lem of  developing  good  instrumental  music  in  the 
school  will  take  it  upon  himself  to  learn  how  to 
play  all  of  the  instruments.  His  own  musician- 
ship will  be  greatly  improved,  his  insight  into  the 
complexity  of  the  mechanical  side  of  orchestral 
technique  will  be  greatly  illuminated,  and  his 
value  as  a  teacher  will  be  doubled. 

Experts  will  laugh  at  the  foregoing  assertions 
and  claim  that  such  ability  is  an  impossibility. 
Experience  proves,  however,  that  with  such 
equipment  a  teacher  can  interest  pupils  in  the 
unusual  instruments  of  the  orchestra  and  can  give 
them  a  start  that  they  would  probably  never 
otherwise  acquire.  This  fact  alone  proves  the 
feasibility  of  the  plan  and  makes  the  results 
worthy  of  attainment.  Twelve  such  teachers  are 
employed  in  the  Oakland  Schools. 


CHAPTER   III 

How  TO  ORGANIZE  INSTRUMENTAL  INSTRUCTION 

IN  ELEMENTARY  In  organizing  instrumental  in- 
SCHOOLS  struction  in  either  the  elementary 

or  the  high  school,  the  special  supervisor  must 
conduct  the  work,  besides  his  regular  duties  as 
supervisor  in  the  grades  or  high  school,  or  both. 
If  he  has  some  playing  ability  upon  one  instru- 
ment of  the  orchestral  group,  the  results  will  be 
more  satisfactory.  Let  a  beginning  be  made, 
however,  to  demonstrate  the  possibilities  of  in- 
strumental music. 

With  the  consent  of  the  principal,  canvass  each 
school  from  the  third  grade  up,  visiting  each 
room.  Explain  the  organization  of  the  orchestra; 
name  the  instruments  that  can  be  used;  tell  of 
the  advantages  to  be  derived  from  learning  to  play 
together;  describe  the  usefulness  of  an  orchestra 
in  the  school;  make  all  boys  and  girls  who  already 
play  an  instrument  eligible  for  membership. 
Secure  from  each  pupil  the  following  information 
on  a  card. 

(1)  Name 

(2)  Address 

(3)  What  instrument  do  you  play? 

(4)  Have  studied  how  long? 

Ask  the  pupils  who  already  play,  and  those  who 
would  like  to  learn  to  play  an  instrument,  to 
request  their  parents  to  come  with  them  to  meet 

30 


ORGANIZING   INSTRUMENTAL   INSTRUCTION         31 

with  you  and  the  principal  the  following  evening 
in  the  school  building. 

Explain  to  the  parents  the  plan  of  the  orchestra, 
the  necessity  of  daily  practice,  the  prompt  and 
regular  attendance  required  at  rehearsals,  the 
advantage  to  the  pupil  of  learning  to  play  instru- 
ments like  the  'cello,  bass,  flute,  clarinet,  horn, 
trombone,  drums,  oboe  and  bassoon,  and  the 
possibility  and  process  of  transferring  from  one 
instrument  to  another. 

State  your  plan  concisely,  talk  to  the  point. 
Get  a  thorough  understanding  established  be- 
tween the  parents  and  yourself  in  the  presence  of 
the  pupils  about  the  necessity  of  daily  practice, 
and  conclude  your  meeting  by  announcing  the 
time  of  the  first  rehearsal  when  all  pupils  must 
bring  their  instruments. 

At  least  five  different  instruments  besides  the 
piano  should  be  represented  among  the  instru- 
ments offered  by  the  pupils,  to  form  the  nucleus 
of  an  orchestra.  Some  cities  assign  a  special 
instrumental  teacher  to  each  school  that  has  such 
a  nucleus  to  offer,  and  this  concession  usually 
spurs  those  schools  that  have  only  violins  or  an 
insufficient  number  of  different  instruments  into 
action  to  secure  the  assistance  of  a  special  teacher. 
Assign  temporarily,  judging  from  the  number  of 
years  of  study  reported  on  the  cards,  the  ad- 
vanced violin  players  to  first  violin  part  and  the 
less  advanced  players  to  the  second  violin.  As 
most  of  the  second  violin  parts  require  double 
stopping  or  two  tones  to  be  played  at  the  same 
time.,  let  the  pupil  seated  on  the  outside  play 
the  upper  notes,  and  the  one  on  the  inside,  the 
lower  notes.  This  will  make  the  intonation  more 


32          PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

nearly  perfect  and  the  reading  and  playing  less 
difficult  for  the  pupil. 

You  will  have  many  more  pianists  than  you 
need.  Test  them  on  reading  a  piano  part  of  some 
orchestral  composition.  You  will  find  that  few 
piano  students  can  read  readily  or  accurately  at 
sight.  Select  the  one  who  has  the  best  sense  of 
rhythm  and  who  seems  to  read  most  readily  at 
sight. 

Emphasize  the  extra  advantage  to  the  piano 
pupils  of  learning  to  play  one  of  the  instruments 
like  the  mellophone,  string  bass,  saxophone,  or 
drums.  As  piano  players  already  have  music- 
reading  ability  and  know  how  to  count,  it  is  well 
to  teach  one  of  the  piano  volunteers  to  play  the 
bass  drum,  leaving  the  snare  drummer  free  to 
devote  his  entire  attention  to  the  correct  playing 
of  his  own  part.  This  plan  adds  one  more  mem- 
ber to  the  orchestra  and  eliminates  the  trap 
drummer,  a  goal  to  which  all  drummers  aspire, 
but  never  attain  in  the  elementary  schools,  and 
rarely  in  the  high  schools. 

"In  view  of  furthering  one's  practical  knowl- 
edge of  the  details  of  instrumentation,  it  were 
better  to  play  the  drums  in  an  orchestra  than  no 
instrument  at  all.  Both  Vincent  d'  Indy  and  Jules 
Massenet,  during  their  student  days,  played  the 
drum  in  orchestras  so  as  to  obtain  training  in  the 
technique  of  instrumentation."  (From  Instru- 
mentation by  Gaston  Borch). 

Pupils  who  have  good  straight  teeth  can  play 
the  cornet  or  horn  or  those  instruments  having 
cupped  mouthpieces.  Pupils  with  prominent  up- 
per teeth  and  slightly  receding  lower  jaw  can 
easily  acquire  facility  on  the  clarinet  or  saxo- 
phone, or  the  single  reed  instrument.  If  both 


ORGANIZING    /.Y.STAV.I//..Y/.I/,    IXXTltrcTlOX         33 


upper  and  lower  teeth  are  even  the  pupil  can 
easily  manipulate  the  double  reeds  of  the  oboe 
and  bassoon.  A  pupil  with  a  long  stretch  be- 
tween the  index  and  the  fifth  finger,  can  play  the 
'cello  or  string  bass. 

Be  prepared  to  give  the  approximate  cost  of 
such  instruments  as  the  flute,  saxophone,  'cello, 
horn,  trombone,  drums,  and  clarinet,  and  to 
explain  the  various  points  of  advantage  of  each 
instrument. 

In  order  to  have  material  for  your  first  re- 
hearsal, provide  yourself  with  a  set  of  books,  four 
first  violins,  two  second  violins,  one  'cello,  one 
flute,  one  first  clarinet,  one  second  clarinet,  one 
first  cornet,  one  second  cornet,  one  trombone 
(bass  clef),  one  drum,  and  one  piano  of  any  of  the 
following  folios: 

1.  Ascher's — Beginner's  Orchestra  Folio 

2.  Ditson's — In  Toneland 

3.  Fox's — Favorite  Folio 

4.  Jenkins' — Beginner's  Orchestra  Folio 

5.  Pepper's — Champion  Folio 

(See  list  of  books,  pages  181  and  190). 

IN  HIGH  The  procedure  of  organizing  an  orchestra 
SCHOOLS  m  the  high  school  is  virtually  the  same 
general  plan  as  was  suggested  for  use  in  the  ele- 
mentary schools. 

Secure  the  necessary  information  concerning  the 
ability  of  the  pupils  that  play  instruments;  confer 
with  the  parents,  if  possible;  explain  to  them  the 
plan  of  the  work  to  be  done  in  the  orchestra;  the 
benefit  of  the  instruction;  the  necessity  of  daily 


34          PUBLIC   SCHOOL    ORCHESTRAS    AND    BANDS 

practice;  the  importance  of  the  study  of  the  neg- 
lected instruments,  and  announce  the  time  and 
place  of  the  first  rehearsal. 

The  choice  of  suitable  material  for  orchestra 
and  band  is  now  of  prime  importance.  The  music 
chosen  for  the  average  high-school  orchestra  is 
usually  too  difficult.  Better  err  in  selecting  too 
easy  material  and  have  something  that  the  pupils 
can  play,  and  play  well,  than  to  mutilate  a  stand- 
ard selection  for  the  sole  purpose  of  reporting  the 
high  class  music  that  the  pupils  are  studying. 

If  you  are  just  starting  an  orchestra,  use  the 
folios  already  mentioned  or  some  of  the  material 
suggested  in  the  library  list,  page  181,  choosing 
those  numbers,  however,  that  are  marked  Grade 
One,  leaving  Grade  Two  and  Grade  Three  until 
the  ensemble  is  sufficiently  well  established  and 
the  instrumentation  complete  enough  to  do  justice 
to  more  ambitious  selections. 


CHAPTER  IV 

CO-OPERATION  OF  SUPERINTENDENT 

BOARD  OF  EDUCATION.  Success  in  any  field  de- 
AXD  PRINCIPAL  mands  co-operation  among 

those  persons  who  are  responsible  for  promoting, 
expanding  and  standardizing  the  project.  Success 
in  the  field  of  school  music  demands  that  the 
supervisor  or  instructor  should,  first  of  all,  secure 
and  make  fast  the  support  and  the  friendship  of 
the  superintendent  of  schools.  He,  alone,  can 
further  the  cause  of  more  music  instruction.  He 
is  the  spokesman  who  must  present  to  the  board 
of  education  all  recommendations  as  to  the  policy 
of  the  department,  the  expansion  of  its  activities, 
and  the  expenditure  of  money  necessary  to  further 
its  work,  he  should  at  all  times  be  conversant  with 
every  idea  and  aim  of  the  music  work  in  all  its 
phases.  Every  plan  should  be  referred  to  him  for 
his  advice,  endorsement  and  suggestion. 

The  great  majority  of  superintendents  are  open 
to  suggestions  at  all  times,  but,  like  all  good  busi- 
ness men,  they  want  to  be  reasonably  sure  that 
success  will  follow.  They  do  not  like  to  endorse 
an  educational  idea  that  is  still  in  the  experimenta- 
tion stage,  although  they  are  always  willing  to 
try  out  new  plans  of  any  kind  if  the  outline  of  its 
educational  value  seems  at  all  feasible. 

If  the  superintendent  is  not  interested  in  the 
subject  of  music,  it  is  clearly  the  business  of  the 
supervisor  to  prove  its  educational  value  by  mak- 
ing a  demonstration  of  the  work  that  will  be  con- 


36          PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

vincing;  this  done,  her  troubles  will  be  at  an  end. 
So  make  the  superintendent  the  "first  aid"  in  all 
instances  of  need,  rejoicing,  and  especially  dis- 
tress. 

If  the  board  of  education  is  adverse  to  the  music 
work  or  to  its  expansion,  prepare  a  demonstration 
and  see  that  the  members  are  invited.  Send  them 
a  personal  invitation  to  be  present,  stating  frankly 
that  your  purpose  is  to  enlist  their  support  in  the 
cause  of  music.  Then  see  that  the  demonstration 
is  such  as  to  carry  your  point. 

Where  city  schools  fail  to  measure  up  to  the 
acknowledged  educational  standards,  it  is  seldom 
entirely  the  fault  of  the  board  of  education. 
Usually  the  teacher  in  charge  either  has  no  am- 
bition to  expand  the  department  or  lacks  ability 
to  carry  the  work  to  a  successful  conclusion.  A 
GOOD  MUSIC  DEPARTMENT  IS  ONE  OF 
THE  BEST  ASSETS  IN  ANY  SCHOOL 
SYSTEM.  If  it  is  not  the  most  active,  live  and 
able-to-do-at-all-times  department,  its  real  power 
in  an  educational  system  is  far  below  standard. 

In  all  matters  of  administration  in  an  individual 
school  building,  consult  with  the  principal  first. 
He  is  responsible  for  the  policies  which  govern  his 
particular  school;  he  is  entitled  to  first  considera- 
tion in  all  matters  which  pertain  to  his  school. 
Discuss  with  him  first,  all  the  details  of  any  musical 
activities  that  are  to  be  carried  on,  and  obtain  his 
endorsement  by  being  considerate  of  his  opinion. 
If  he  then  is  obdurate,  prepare  a  demonstration  in 
some  other  school  and  see  that  he  receives  an  in- 
vitation from  the  superintendent  "to  be  present 
and  inspect  the  plan  which  has  been  suggested  for 
adoption."  He  will  thus  be  more  easily  persuaded 
to  give  the  undertaking  a  fair  trial. 


CHAPTER  V 

INSTRUCTION  IN  THE  ELEMENTARY  SCHOOLS 

PLAN  FOR  COMPLETE  The  success  of  instrumental 
INSTRUMENTATION  instruction  in  the  public 
schools  is  largely  dependent  for  its  continuity 
upon  the  thoroughness  of  the  instruction  that  is 
given  in  the  elementary  schools.  The  only  guar- 
antee that  trained  players  will  be  available  for  the 
high  school  music  organizations  is  that  plan  which 
does  not  depend  upon  chance  but  prepares  its 
players.  The  instruments  necessary  for  a  com- 
plete orchestra  should  be  taught  by  an  experienced 
teacher  employed  by  the  school  system.  All 
instruments  that  are  needed  for  the  rendition  of 
standard  compositions  should  be  provided  either 
by  the  pupils  themselves  or,  more  appropriately, 
as  the  property  of  the  school  system  and  loaned 
to  the  pupils. 

In  the  elementary  school  the  average  orches- 
tra is  mongrel.  (See  Tables  one  and  two,  pages 
58-60).  Having  to  depend  entirely  upon  the 
instruments  furnished  by  the  pupils  for  the  nuc- 
leus of  an  orchestra,  the  assortment  is  never  uni- 
form in  any  two  schools.  The  mongrel  instru- 
mentation must  be  accepted  and  augmented. 
High  pitch  instruments,  especially  flutes  and 
clarinets,  cannot  be  used  satisfactorily  in  the  or- 
chestra, and  serve  only  as  instruments  upon 
which  to  begin  instruction  with  the  assurance  that 
later  they  will  be  exchanged  for  low  pitch  instru- 
ments that  can  be  used.  The  instrumentation 

37 


38 


PUBLIC   SCHOOL   ORCHESTRAS    AND   BANDS 


that  is  here  given  must  be  modified  to  meet  the 
varying  conditions  presented  in  each  school. 
While  keeping  the  ideal  ever  in  mind  (see  Suggested 
Balance  of  Parts,,  page  57),  use  all  the  available 


No.  1 


VIOLINS 


Half-size  Violin  in  the  hands  of  small  girl.  Taller  girl 
with  full-sized  Violin.  Observe  tuner  on  tail-piece  for 
steel  E  string,  chin-rests,  and  comparative  lengths  of  the 
violin  bows.  (Instruments  owned  by  players). 


INSTRUCTION*   IN   ELEMENTARY  SCHOOLS 


39 


players  and  endeavor  to  improve  the  instrumenta- 
tion toward  the  ideal. 

VIOLINS  (Illustration  No.  1,  page  38) 

Unless  there  is  a  very  large  number  of  violin 
players,  it  is  usually  advisable  to  let  them  all  play 


No.  2 


VIOLA   AND   VIOLIN 


Full-sized  Violin  at  the  left,  and  Viola  on  the  right,  showing 
comparative  sizes.  (Viola  is  supplied  by  the  School  De- 
partment and  loaned  under  bond  to  th  pupil). 


40          PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

the  first  violin  part,   as  the  piano  supplies  and 
duplicates  both  the  second  violin  and  viola  parts. 

VIOLA  (Illustration  No.  2,  page  39) 

The  viola  should  be  left  for  high  schools  to 
develop.  While  advanced  and  experienced  violin 
players  in  the  elementary  schools  can  often  be 


No- 3  VIOLONCELLOS 

Half-size  Violoncello  at  left,  three-quarter  size  at  right. 
(Both  instruments  supplied  by  the  School  Department  and 
loaned  under  bond  to  the  pupils). 

transferred  to  the  viola,  it  is  not  to  be  recom- 
mended except  in  those  school  systems  that  pro- 
vide instruments  for  pupils.  Pupils  rarely  own 
or  purchase  a  viola  before  they  enter  the  high 
school. 

'CELLO  (Illustration  No.  3) 

Few  pupils  study  the  'cello,  one  of  the  most 
delightful  solo  instruments,  primarily  because  of 


INSTRUCTION   IN   ELEMENTARY   SCHOOLS 


41 


its  awkward  size  and  apparent  clumsiness.  Here 
again,  the  expert  teacher  can  appeal  directly  to 
the  pupil  and  to  the  parent,  and  in  many  instances 
interest  both  in  the  worth- whileness  of  learning 
to  play  so  useful  an  instrument.  'Cello  players 
are  always  in  demand,  and  if  the  parents  want  a 


No.  4 


STRING   BASSES 


Half-size  string  Bass  at  left,  full  size  at  right.  Notice  the 
spliced  E  string.  When  the  knot  comes  below  the  bridge 
or  above  the  finger-board  groove  the  string  is  still  service- 
able. (Instrument  supplied  by  the  School  Department). 

solo  or  melody  instrument  in  the  home  urge  con- 
sideration of  this  instrument.  A  child  with  a 
large  flexible  hand  can  learn  to  play  the  'cello  as 
easily  as  the  overworked  violin.  For  a  child 
who  is  not  able  to  make  the  large  stretch  de- 


42         PUBLIC  SCHOOL   ORCHESTRAS   AND   BANDS 

manded  of  the  full  sized  'cello,  a  three-quarter 
size  and  even  a  one-half  size  can  be  procured. 
These  small  size  'cellos  are  not  so  clumsy  and  can 
more  easily  be  manipulated  and  carried  by  pupils 
of  average  growth  in  the  elementary  schools. 
Beginning  pupils  can  play  the  bass  part  on  the 
'cello,  until  they  acquire  ability  to  play  the 
regular  'cello  parts  which  are  technically  fluent. 

STRING  BASS  (Illustration  No.  4,  page  41) 

The  string  bass,  or  big  fiddle,  on  account  of  its 
size,  is  an  instrument  almost  unknown  in  the 
elementary  schools;  it  is  too  large  to  be  trans- 
ported to  and  from  home,  and  few  parents  ever 
purchase  one  as  it  has  no  charm  as  a  solo  instru- 
ment. If  this  instrument  is  ever  to  be  repre- 
sented at  all  in  the  orchestra  or  be  taught  in  the 
elementary  schools,  it  is  apparent  that  the  instru- 
ment must  be  furnished  by  the  school  system  and 
that  the  pupil  must  do  his  practising  at  the  school. 
It  is  possible,  as  in  the  case  of  the  'cellos,  to  pro- 
cure half -size  basses  for  the  elementary  schools. 

FLUTE  (Illustration  No.  5,  page  43) 

The  flute  is  the  most  neglected  of  all  the  solo 
instruments.  None  has  so  many  features  to 
commend  its  adoption,  especially  by  girls,  as  has 
the  flute.  The  Boehm  flute  is  the  best  to  use  and 
the  best  one  to  purchase. 

"Dr.  Rogers,  in  summing  up  an  extensive 
series  of  investigations,  comes  to  the  conclusion 
that  a  moderate  use  of  the  wind  instruments  is 
helpful  to  the  lungs,  throat,  nose,  etc.  He  con- 
siders the  Boehm  flute  the  most  desirable  instru- 
ment for  a  person  with  weak  lungs,  'since  it 
offers  less  effort  than  the  other  instruments,  even 


INSTRUCTION   IN    ELEMENTARY   SCHOOLS 


43 


less  than  singing,  requires  less  skill  in  the  produc- 
tion of  tone  than  the  reed  instruments ;  is  adapted 
for  individual  playing;  is  possessed  of  beauty  of 
tone;  is  not  sombre;  has  a  mechanism  easily 
acquired,  though  always  offering  something  to 
overcome  in  the  perfection  of  technique;  and 


Xo.  5 


FLUTES 


High-pitch,  Meyer  system  flute  (left);  Boehm  system  low  pitch  (right). 
Observe  how  far  the  first  joint  is  pulled  out  on  the  old  style  flute.  The 
Boehm  flute  has  all  the  joints  closed  tight.  (Players  own  these  instru- 
ments). 

lastly  is  an  instrument  adapted  for  women  as 
well  as  men.' '  (Mistakes  and  Disputed  Points 
in  Music,  by  Elson). 

Although  pupils  can  make  satisfactory  progress 
on  the  Meyer  System  flute,  its  mechanical  defi- 
ciencies limit  its  desirability  to  such  an  extent 
that,  despite  the  higher  cost,  it  is  better  by  far 
to  purchase  the  Boehm  flute,  for  the  rapidity  of 


44          PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 


the  player's  progress  thereafter  more  than  com- 
pensates for  the  added  cost. 

CLARINET  (Illustration  No.  6) 

The  clarinet  like  the  flute  is  not  so  popular  a 
solo  instrument  as  its  character  should  warrant. 
While  the  clarinet  is  more  difficult  to  learn  than 


No.  6 


CLARINETS 


Albert  System  B-flat  Clarinet  on  left.  A  and  B-flat 
Boehm  system  Clarinets  on  right.  All  orchestra  players 
should  have  a  set  of  Clarinets,  one  B-ftat  and  one  A. 
(Players  own  these  instruments). 

the  cornet,  the  demand  for  clarinet  players  is 
greater  and  the  study  of  this  particular  instru- 
ment should  be  encouraged.  Two  systems  of 
fingering  are  used,  the  Boehm  and  the  Albert 
system.  The  Boehm  system  clarinet,  while  it  is 
double  the  cost  of  the  Albert  system,  is  better 
adapted  for  small  chubby  hands  on  account  of  the 


INSTRUCTION   I.\   ELEMENTARY  SCHOOLS  4.5 

compact  arrangement  of  the  keys.  For  general 
school  purposes,  however,  the  Albert  system  is  to 
be  recommended,  as  it  is  less  expensive  and 
equally  satisfactory,  although  professional  players 
usually  prefer  the  Boehm  system.  An  orchestra 
player  should  have  a  set  of  two  clarinets,  one 
B-flat  and  one  A. 


No.  7 


CORNETS 


B-flat  Cornet  on  left :  long  trumpet-model  Cornet  on  right, 
changed  to  A  Observe  the  alterations  of  the  valve 
slides;  also  how  far  the  tuning  slide  is  pulled  to  lower  the 
pitch  only  a  half-tone.  (Players  own  these  instruments). 

CORNET  (Illustration  No.  7) 

The  cornet  is  a  more  popular  instrument  than 
its  usefulness  warrants.  It  is  easy  to  learn,  not 
very  expensive,  and  the  quick  results  obtained 
gratify  students  and  parents.  All  B-flat  cornets 
are  equipped  with  a  quick-change  slide  for  A, 
while  clarinet  players  must  own  two  separate 
instruments. 


46  PUBLIC   SCHOOL    ORCHESTRAS   A\D   BANDS 

HORN  AND  MELLOPHONE  (Illustration  No.  8) 

Every  orchestra  needs  two  mellophones.  This 
instrument  is  one  of  the  most  useful  and  necessary 
of  the  orchestral  group.  It  is  built  in  F  and  is 
used  instead  of  the  French  horn.  The  mello- 
phone  is  easily  learned,  while  the  French  horn  is 


No.  8 


HORN   AND   MELLOPHONE 


(Left)  Single  French  Horn  in  F,  rotary  action.  (Right) 
Mellophone  in  F,  valve  action  Observe  difference  in 
tubing,  mouthpiece,  position  of  holding,  and  the  right 
and  left  hand  fingering  of  the  two  types  of  horns. 
(Both  instruments  supplied  by  the  School  Department 
and  loaned  under  bond  to  the  pupils). 

the  most  difficult  to  play  of  all  the  brass  instru- 
ments. A  pupil  wishing  to  study  the  French 
horn  will  make  more  rapid  progress  by  having  at 
least  a  year's  experience  on  the  mellophone.  As 
the  mellophone  is  not  a  melody  instrument  it 
should  be  purchased  by  the  school  system  and 
loaned  to  the  pupils. 


INSTRUCTION   IN   ELEMENTARY   SCHOOLS  47 

SLIDE  TROMBONE  (Illustration  No.  9) 

The  slide  trombone  requires  an  accurate  ear 
and  long  experience  to  master  its  technique.  As 
a  solo  instrument,  it  has  no  superior  among  the 
brass  group  and  its  study  should  be  encouraged. 
Like  the  human  voice  and  the  violin,  it  can  in- 


No.  9 


SLIDE  TROMBONE  AND  E-FLAT  TUBA 


Slide  Trombone,  left;  Eb  Tuba,  medium  size,  right.  (Lat- 
ter supplied  by  the  School  Department  and  loaned  under 
bond  to  the  pupil). 


fleet    smaller    differences    in    pitch    than    instru- 
ments tuned  to  the  tempered  scale. 

"On  the  keyboard  of  the  piano,  F -sharp  and 
G-flat  are  one  and  the  same  note,  but  not  so  on 
the  violin,  or  any  instrument  for  which  the  ear 
determines  the  pitch  to  be  imparted  while  playing. 
F -sharp,  considered  as  a  major  seventh,  or  leading 
note,  progressing  to  G,  will  always  be  played 
somewhat  sharper  than  G-flat — the  latter  note 


48 


PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 


considered  as  the  minor  third  of  E-flat.  This 
infinitesimal  difference  of  pitch  is  mathematically 
determined.  For  a  thorough  understanding  of 
this  subject  a  special  study  of  acoustics  is  neces- 
sary." (From  Instrumentation,  by  Gaston  Borch). 


No.  10 


DRUMS 


First 


A  good  drum  combination.     Individual  players  for  each, 
drummer  equipped  with  bells,  tambourine  and  castanets. 
(The  instruments  are  supplied  by   the  School   Department  and 
loaned  under  bond  to  the  pupils). 


DRUMS  (Illustration  No.  10) 

Into  the  life  of  every  boy  at  some  time  or  other, 
has  come  the  desire  to  play  a  drum.  A  boy  is 
noisy,  so  is  a  drum.  The  bass  drum  is  easy  to 
beat,  but  strange  as  it  may  seem  the  snare  drum 
is  the  most  poorly  played  of  all  the  orchestral 


50         PUBLIC  SCHOOL  ORCHESTRAS   AND   BANDS 

instruments.  It  demands  a  perfect  sense  of 
rhythm  and  a  keen  feeling  for  accent  which  can 
be  acquired  only  through  hard  work  and  long  ex- 
perience, and  to  the  former  the  small  boy  is 
usually  averse.  If  a  pupil  is  taught  to  read  the 
snare  drum  parts  and  is  compelled  to  play  the 
part  as  written  without  faking,  there  is  some  hope 
for  his  future  development  into  a  good  drummer. 


CLASS  INSTRUCTION 

A  few  years  ago  a  wave  of  enthusiasm  swept 
through  the  public  schools  over  the  possibilities 
of  a  class  instruction  in  violin,  following  a  report 
of  a  demonstration  given  somewhere  in  England. 
Thousands  of  pupils  were  enrolled  in  the  classes 
and  the  results  obtained  were  more  than  satisfac- 
tory, and  by  some  were  considered  to  be  almost 
marvelous. 

The  plan  briefly  put,  required  the  pupil  to 
purchase  an  outfit  consisting  of  a  violin,  strings, 
case,  bow,  tuning  pitchpipe  (g,  d,  a,  e),  chin-rest, 
rosin,  and  an  instruction  book  of  exercises.  All 
students  were  grouped  into  classes.  The  exer- 
cises were  carefully  marked  with  the  correct 
fingering  and  bowing  and  the  advance  lessons 
were  rehearsed  and  assigned  for  daily  practice 
until  the  next  lesson  on  the  following  week.  By 
this  plan  many  pupils  \vho  could  not  afford  special 
teachers  were  given  instruction  at  a  very  reason- 
able price,  about  ten  cents  a  lesson.  As  the 
classes  progressed,  the  best  pupils  were  re-classi- 
fied and  placed  in  an  advanced  class,  thus  elim- 
inating some  of  the  lock-step  method  which  is 
unavoidable  under  such  a  scheme  of  instruction. 


INSTRUCTION   IN   ELEMENTARY   SCHOOLS          51 

This  plan  of  class  instruction  on  the  violin  was 
first  introduced  in  this  country  in  1912  by  Dr. 
Albert  G.  Mitchell,  Assistant  Director  of  Music 
in  the  Boston  Public  Schools.  Its  success  in  Bos- 
ton caused  the  movement  to  spread,  and  many 
school  systems  are  now  employing  this  plan  of 
instruction  and  are  achieving  satisfactory  results. 

It  needs  no  argument  to  convince  the  reader 
that  individual  instruction  is  almost  always  more 
effective  in  its  results  and  doubly  superior  to  class 
instruction.  It  is  only  necessary  to  state  that 
where  individual  instruction  cannot  be  supplied, 
the  class-plan  lesson  is  the  next  best  alternative. 

The  class-plan  may  be  employed  for  all  instru- 
ments as  well  as  for  the  violin.  The  other  instru- 
ments are  usually  more  expensive  and  fewer 
pupils  own  or  purchase  them.  This  probably 
accounts  for  the  predominance  of  violin  players 
and  the  neglect  of  other  necessary  and  useful  in- 
struments, usually  so  conspicuous  by  their  ab- 
sence in  both  the  orchestra  and  the  band. 


INDIVIDUAL  INSTRUCTION 

While  the  class-plan  is  feasible  and  is  at  all 
times  deserving  of  consideration,  the  individual 
lessons,  though  not  accommodating  as  many 
pupils,  naturally  result  in  better  instruction  and 
more  careful  training.  From  experience  and  ex- 
periments, it  has  been  learned  that  the  best  num- 
ber to  assemble  is  three,  and  never  more  than  six 
pupils,  in  class  instruction  on  any  instrument, 
especially  the  violin. 

This  statement  presupposes  that  the  instruction 
is  given  by  a  special  teacher  employed  and  paid 


52          PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

a  yearly  salary  by  the  school  system.  This  plan 
will  permit  him  to  devote  his  entire  time  to  teach- 
ing in  the  schools,  beginning  as  early  as  8  o'clock, 
one  hour  before  school,  and  finishing  as  late  as 
4.15,  one  hour  after  school.  One  can  readily 
discern  that  such  a  plan  is  ideal.  It  is  the  only 
plan  which  will  guarantee  that  the  instrumental 
instruction  in  the  schools  will  be  brought  up  to 
the  level  where  the  results  that  should  be  obtained 
will  be  average  results  throughout  the  entire 
country. 

If,  however,  the  school  system  will  not  provide 
funds  for  the  employment  of  special  teachers  to 
furnish  this  free  instruction  to  all  students,  and 
this  handicap  already  confronts  many  supervisors 
of  music  all  over  the  United  States,  it  is  necessary 
to  resort  to  another  method  of  obtaining  results. 
This  method  compels  the  supervisor  to  solicit 
the  assistance  of  some  local  violin  teacher  to 
undertake  the  work  of  class  instruction.  The 
pupils  pay  a  nominal  fee  of  from  ten  to  twenty- 
five  cents  a  lesson.  In  order  to  make  this  method 
remunerative  to  the  outside  teacher,  the  classes 
must  contain  from  ten  to  twenty -five  pupils,  and 
enough  classes  must  be  formed  to  fill  the  teacher's 
time  for  a  certain  number  of  days  a  week. 

Unless  the  lessons  are  paid  for  in  advance  the 
teacher  is  always  facing  a  deficit  at  each  visit 
caused  by  absent  pupils  and  those  who  forget 
to  bring  their  money.  This  entails  an  extra  duty 
upon  the  instructor  of  keeping  books,  besides  the 
ordeal  of  keeping  twenty  pupils  busy.  Some 
cities  augment  the  teacher's  collections  by  a  half- 
time  or  two-thirds  time  salary  to  offset  the  un- 
certainty of  the  remuneration  under  the  class- 
pay  plan. 


IXSTRCt'TIOX    7.V    Kl.r.M I..\ TARY   SCHOOLS  53 

The  lessons  given  once  a  week  under  the  class- 
pay  plan  are  from  thirty  minutes  to  an  hour  in 
length.  The  individual  lesson,  however,  is  about 
fifteen  to  twenty  minutes.  This  is  governed  by 
the  enrollment  which,  if  large,  usually  reduces  the 
lesson  period  to  fifteen  minutes. 

A  detail  should  be  mentioned  at  this  point 
which  is  of  utmost  importance,  and  that  is  the 
tuning  of  the  violin.  It  takes  long  practice  to  tune 
a  violin  correctly,  and  children  cannot  learn  to  do 
it  in  a  few  lessons.  Moreover,  a  violin  needs 
frequent  tuning  during  a  rehearsal.  Just  recall 
if  you  will,  how  frequently  and  how  carefully 
soloists  tune  up  and  how  often  even  the  profes- 
sional players  retune.  \Yith  these  facts  before 
you,  think  of  a  group  of  ten  or  twenty  children, 
who  cannot  tune  accurately,  playing  for  a  lesson 
period  of  thirty  minutes  or  an  hour  without  re- 
tuning  ! 

It  is  clearly  a  case  of  the  teacher's  tuning  all  the 
violins,  which  consumes  considerable  time,  or  his 
depending  upon  the  pupils  to  do  their  own  tuning, 
which  assures  a  bad  start  and  subsequent  poor 
intonation.  Some  teachers  will  say  that  the  pupils 
have  to  learn  it  sooner  or  later  and  they  cannot 
begin  too  soon.  Such  an  argument,  howrever 
pertinent,  does  not  guarantee  the  correct  tuning 
of  the  violin,  and  if  it  is  not  in  good  tune,  the 
finger  positions  soon  become  inaccurate  and  the 
playing  is  mechanically  wrong,  as  well  as  being 
out  of  tune.  The  most  serious  problem  to  be 
considered  in  the  large  classes  is  unquestionably 
the  problem  of  tuning. 

The  efficiency  of  teaching  depends  largely  upon 
the  amount  and  kind  of  practice  the  pupil  does 
in  the  time  intervening  between  lessons.  In  order 


54 

to  encourage  more  careful  practice  on  the  part  of 
the  pupil,  a  report  card  (sample,  page  194)  is  sent 
to  the  parent  every  four  weeks,  or  as  frequently 
as  the  instructor  sees  fit.  On  this  card  the  pupil's 
progress  is  reported  as  to  scales,  studies,  and 
pieces,  with  a  special  column  devoted  to  practice, 
wherein  the  teacher  can  remind  the  parent  that 
the  pupil  is  not  doing  the  required  amount  of 
daily  practice.  Again,  the  half -hour  or  hour  may 
be  put  in  and  still  the  results  show  that  the  time 
is  not  advantageously  employed,  and  that  the 
pupil  must  learn  to  do  more  concentrated  study. 
Few  pupils,  however,  know  how  to  study,  and 
still  fewer  teachers  ever  teach  the  pupil  how  to 
practice  each  day  so  that  something  definite  may 
be  accomplished  in  every  practice  period.  If  a 
teacher  would  devote  one  period  or  one  lesson  to 
such  instruction,  the  pupil  would  manifest  a 
greater  interest  in  his  work  immediately.  One 
half  hour  a  day  of  steady,  careful  practice  will 
produce  satisfactory  results. 

As  most  of  the  practising  is  done  at  home,  it 
behooves  the  teacher  to  make  an  effort  to  have  the 
mother  pay  a  personal  visit  to  the  school  and  see 
how  the  lessons  are  conducted  and  to  impress 
upon  her  how  much  practice  should  be  done, 
when  to  do  it,  for  how  long,  and  most  important, 
what  kind  of  practice  the  pupil  should  do.  If  the 
parents  have  had  no  musical  training,  it  is  ad- 
visable to  give  or  send  to  them  a  typewritten 
mimeographed  letter  explaining  that  the  daily 
practice  governs  the  pupil's  progress.  The  pa- 
rents can  insist  that  the  practice  be  done  at  a 
regular  period  each  day.  With  a  little  attention 
on  their  part  in  listening  to  the  practice,  they  can 
very  readily  discern  whether  the  pupil  is  working 
or  simply  putting  in  the  time. 


INSTRUCTION   IN  ELEMENTARY   SCHOOLS          55 

The  pupils  that  make  the  most  rapid  progress 
in  school  are  usually  those  who  receive  encourage- 
ment and  help  at  home,  mingled  with  a  judicious 
amount  of  forceful  insistence  that  the  study 
period  cannot  be  slighted,  forgotten,  or  skimmed 
over.  From  such  home  influences  and  parental 
interest  in  the  development  of  the  children  come 
the  best  students.  The  problem  now  facing  the 
schools  of  this  country  is  one  of  being  able  to 
reach  the  parents  and  secure  from  them  intelligent 
co-operation  in  assisting  the  teachers  in  their 
work  by  compelling  concentrated  study  at  home. 
Children  prefer  play  to  practice.  They  will  very 
likely  shirk  their  practice  unless  they  meet  with 
enough  authority  at  home  to  convince  them  that 
the  practice  and  study  hour  cannot  be  neglected. 

ORCHESTRAL  ENSEMBLE 

All  pupils  beginning  instrumental  instruction 
in  the  elementary  schools  should  pursue  their 
study  for  at  least  one  year  before  they  are  ad- 
mitted to  the  orchestra.  If  the  teacher  is  cap- 
able, he  can  hold  the  interest  of  the  pupil  until 
he  has  become  well  grounded  in  his  work  and  able 
to  lend  assistance  to  the  orchestra  instead  of 
being  a  drag,  as  must  be  the  result,  if  the  student 
is  admitted  too  soon. 

The  experience  of  playing  in  an  orchestra  is  of 
great  value  to  the  pupil.  He  learns  the  necessity 
of  counting  all  the  time,  and  acquires  a  training 
in  reading  that  is  always  of  value  to  him.  Most 
pupils  study  only  the  solo  instruments  and  so 
acquire  no  hearing  acquaintance  with  the  harmony 
or  accompaniment  parts.  As  very  few  of  them 
have  any  one  at  home  to  play  the  piano  accom- 


56          PUBLIC   SCHOOL   ORCHESTRAS   A\D   BANDS 

paniment  to  their  solos,  their  first  real  experience 
in  hearing  parts  other  than  those  contained  in  the 
melody  is  first  gained  in  the  orchestra. 

One  can  readily  realize  that  the  first  two  or 
three  months  of  rehearsals  are  consumed  in  the 
new  experience  of  playing  with  others  and  in 
being  able  to  find  and  to  keep  the  right  place  in 
the  music  that  is  being  played.  Whether  or  not 
the  training  is  to  be  of  value  to  the  pupil  later, 
depends  entirely  upon  the  teacher  in  charge  of  the 
training.  If  he  is  a  good,  careful  drill-master, 
exact  and  painstaking,  both  patient  and  positive, 
knowing  enough  of  the  routine  of  the  orchestra 
to  be  able  to  secure  musical  effects  in  the  compo- 
sitions that  beginners  can  play,  the  entire  Droce- 
dure  will  be  of  value  to  the  pupil. 


INSTRUCTION   IN  ELEMENTARY   SCHOOLS 


57 


A  SUGGESTED  BALANCE  OF  PARTS  FOR  AN  ORCHESTRA 

(Note)  —  Publishers'  catalogues  list  music  as  arranged  for  the  five 
following  groups  of  instruments. 

6  &  Piano  10  &  Piano  14  &  Piano  Full  &  Piano       Grand  Orchestra 

(16) 
(14) 
(10) 
(8) 
(8) 
1st  &  2nd  &  Piccolo 

(1) 
Bass  Clarinet  (1) 


1st  Violin          (2)*f 

(4)* 

(6)* 

(10) 

2nd  Violin 

(3) 

(4) 

(8) 

Viola 

(2) 

(4) 

'Cello                (1) 

(1)  a*b 

(2) 

(4) 

Bass 

(1) 

(2) 

(4) 

Flute 

(1) 

(I) 

(1) 

1st  Clarinet     (1) 

(1) 

(1) 

(1) 

2nd  Clarinet 

(1) 

(1) 

1st  Cornet       (1) 

(1) 

(1) 

(1) 

2nd  Cornet      (1) 

(1) 

(1) 

(1) 

Horns  (in  F)  c 

(2)c 

(2) 

Trombone 

(1) 

(1) 

(1) 

Drums              (1) 

(1) 

(1) 

(2) 

Oboe 

I 

Bassoon 

e  (1) 

Piano 


(1)  (1) 


(1) 


Trumpets 

1st,  2nd,  3rd  &  4th 
1st,  2nd  &3rd 
.Tympani  (1)  Drums  2 
1st,  2nd  &  English  Horn 
1st,  2nd  &  Contra 

Bassoon 

Harp  (1),  Organ    (1) 
Tuba  (1),  Celesta  (1) 


SUBSTITUTION    OF   INSTRUMENTS 

(a)  Baritone  instead  of  'Cello  if  player  can  read  in  the  Bass  clef. 

(b)  Melody-Saxophone  on  'Cello  part. 

(c)  Horn  parts  are  usually  written  for  horns  or  mellophones  in  F. 
Sometimes  the  parts  are  written  for  E-flat  altos  or  Horns  in 
E-flat.     (Refer  to  Chapter  XV  on  Transposition). 

(d)  Oboe — use  1st  Violin  part. 

(e)  Bassoon — use  'Cello  or  Bass  part. 


*Minimum  number  of  players;  more  may  he  added  to  the  string  section. 

fWhere  the  piano  supplies  the  second  violin  and  viola  or  the  harmony  parts  concen- 
trate all  the  violin  players  on  the  first  violin  part. 


58 


PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 


TABLE  No.  1 

SCHEDULE    OF    INSTRUMENTAL    INSTRUCTOR    IN    THE 

ELEMENTARY   SCHOOLS  OF    OAKLAND    SHOWING 

NUMBER   AND    KINDS   OF   INSTRUMENTS 

TAUGHT  IN  DIFFERENT  SCHOOLS 

VISITED    EACH    WEEK.     1918 


TEACHER  No.  1 

Mon. 

Tues. 

Wed. 

Thurs. 

Fri 

Rem'ks 

A.M.  P.M. 

§  2 

ALL  DAY 

£• 

*     £ 

g 

V 

Total 

8   £ 

0 

•>    § 

S2 

u 
>> 

per 

6    1 
H     3 

£ 

pj 

&    % 
3   £ 

E 
W 

1 

week 

NUMBER  OF  LESSONS  GIVEN  EACH  DAY 


Piano  

2 

1 

2 

2 

7 

Violin  

15 

SO 

13     5 

2 

25 

90 

Viola  

1 

1 

2 

'Cello  

1 

1 

2 

String  Bass  

1 

1 

2 

Piccolo  

1     i 

1 

3 

Flute  

1     3 

2     1 

1 

8 

Clarinet  

2 

3 

1     2 

4 

2 

14 

Oboe  

1 

1 

Bassoon  

1 

1 

Saxophone  

2 

2 

Cornet  

3 

4 

3      1 

4 

15 

Alto  

1 

Mellophone  

2 

3 

5 

French  Horn  .... 
Trombone  (Slide) 
Trombone  (Valve) 
Baritone  

1 

1 

1 

3 

'  2 

1 

1 

3 
3 

1 
3 

Tuba  

1 

1 

2 

Snare  E^rum  

2 

4 

7 

1 

2 

16 

Bass  Drum  .... 

1 

1 

1 

3 

Drums  &  Traps  .  .  . 

1 

1 

2 

22  16 

48 

29  12 

21 

37 

186 

"MONGREL"  INSTRUMENTATION  OF  BAND  OR  ORCHESTRA 


Violin  

12 

8 

8 

'Cello  

1 

String  Bass  

1 

Piccolo  

1 

Flute  

2 

1 

Clarinet      

2 

1 

3 

2 

Oboe  

1 

Bassoon    

1 

1 

SaxoDhone    . 

2 

INSTRUCTION   IN   ELEMENTARY   SCHOOLS 


59 


TABLE  No.  1 — continued 
"MONGREL"  INSTRUMENTATION  OF  BAND  OR  ORCHESTRA — continued 


Mon. 

Tues. 

Wed. 

Thurs. 

Fri. 

Rem'ks 

A.M.  P.M. 

-    « 

8  I 

§  -g 

W     J 

ALL  DAY 

£ 

Lakeview 
Prescott 

o 
H 

Lafayette 

Total 
per 
week 

Cornet  

3 

1 

3 

3 

Alto  

Mellophone  

1 

French  Horn  
Trombone  (Slide) 
Baritone  

3 

1 
1 

2 

1 
1 

Tuba  

1 

Snare  Drum    

1 

2 

Bass  Drum        .... 

1 

1 

Drums  &  Traps.  .  . 
Piano  

1 

2 

2 

1 

2 

TABLE  Xo.  2 

SCHEDULE    OF    INSTRUMENTAL    INSTRUCTOR    IN    THE 

ELEMENTARY  SCHOOLS  SHOWING  NUMBER  AND 

KINDS     OF     INSTRUMENTS     TAUGHT     IN 

THE  DIFFERENT  SCHOOLS  VISITED 

EACH    WEEK.     1918 


TEACHER  No.  2 

Mon. 

Tues. 

Wed. 

Thurs. 

Fri. 

Rem'ks 

A.M.  P.M. 

OJ       >> 

ALL  DAY 

0) 

| 

K 

1 

?    ^ 

Total 
per 

ct  0      o 

S 

V 

1 

1     1 

week 

X-S  Q 

«2 

Q 

£ 

0    H 

NUMBER  OF  LESSONS  GIVEN  EACH  DAY 


Piano  

Violin  

16  13 

22 

17 

10 

27  23 

128 

Viola  

1 

1 

'Cello  

1 

1 

2 

String  Bass  

Piccolo  

1 

1 

2 

Flute  

1 

1 

Clarinet 

2     1 

2 

1 

6 

Oboe  .  . 

1 

1 

1 

60 


PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 


TABLE  No.  2 — continued 

NUMBER  OF  LESSONS  GIVEN  EACH  DAY — continued 


Mon. 

Tues. 

Wed. 

Thurs. 

Fri. 

Rem'ks 

A.M.  P.M. 
a     >. 

*§  1 

a  o    £ 
ffi-5   Q 

ALL  DAY 

JU 

"3 
•o 

1 

< 

57 
t 

V 

Q 

Fruitvale 

Clawson 
Tomkins 

Total 
per 
week 

Bassoon  

Saxophone  

1 

1 

2 

Cornet  

4     2 

4 

4 

4 

1 

19 

Alto  

1 

1 

1 

2 

5 

Mellophone  .... 

1 

1 

1 

3 

French  Horn  
Trombone  

1 

1 

1 

1 

4 

Baritone  

1 

1 

2 

Tuba  

1 

1 

1 

3 

Snare  Drum 

4 

1 

2 

7 

Bass  Drum  

1 

1 

4 

6 

Drums  &  Traps  .  .  . 

29  20 

34 

32 

27 

27  24 

192 

"MONGREL"    INSTRUMENTATION    OF    BAND    OR    ORCHESTRA. 


B. 

0. 

B. 

0. 

B. 

O. 

B. 

O. 

B. 

0. 

Violin  

7 

Q 

l/> 

7 

11 

10 

Viola  

1 

'Cello  

1 

String  Bass  

Piccolo  

1 

Flute  

Clarinet  

1 

1 

1 

1 

Oboe  

1 

1 

Bassoon  

Saxophone  

1 

1 

1 

1 

Cornet  

1 

1 

6 

3 

4 

9 

9 

Trumpet  

Fluegel  Horn  
Alto  

1 

9 

Mellophone  

1 

1 

French  Horn  
Trombone  

1 

1 

Baritone  

1 

1 

Tuba  

1 

1 

1 

1 

1 

1 

Snare  Drum  

1 

1 

9, 

9, 

1 

1 

Bass  Drum  

1 

1 

1 

1 

1 

1 

Drums  &  Traps    .  . 
Piano  

9, 

3 

3 

9 

1 

1 

— 

14 

— 

17 

15 

28 

13 

18 

16f 

11  + 

•(•Organization  only  one  year  old. 


+Not  an  orchestra. 


IXSTRUCTIOX   IX   ELEMENTARY   SCHOOLS 


61 


TABLE  No.  3 


REPORT— BY    TEACHER 


MADE  MAY    15,    1918,    OF    THE    NUMBER    AND    KIND    OF 
LESSONS  GIVEN  EACH  WEEK,  SECOND  SEMESTER, 
IN  INSTRUMENTAL  MUSIC  IN  THE  ELEMEN- 
TARY SCHOOLS  OF  OAKLAND,   CAL 


c 

B 

2  o 

H  Z 

U 

-• 

«  n 

3    O 
H  25 

U 
~     r: 

"•*     C 

f-  2 

JU 

id 

H  S2 

JU 

So- 

•s* 

S   o 
HS5 

JU 

o   o 
H  Z 

& 

ft  00 

Sd 

£2 

• 
1 

1 

*Piano  

7 

9 

e 

6 

32 

Violin 

90 

128 

125 

91 

90 

1  1-' 

60 

G96 

Viola  

9 

1 

3 

<; 

'Cello  

2 

2 

3 

4 

1 

12 

String  Bass  . 

2 

3 

4 

9 

Piccolo 

3 

2 

| 

3 

3 

2 

2 

19 

Flute  

8 

1 

.-> 

4 

2 

1 

21 

Clarinet  

14 

5 

8 

12 

21 

13 

7 

2 

83 

Oboe           

1 

1 

1 

3 

Bassoon 

1 

1 

1 

1 

4 

Saxophone  

9 

2 

1 

1 

9 

3 

1 

13 

Cornet  

15 

19 

94 

97 

38 

60 

:$o 

6 

219 

Trumpet    

1 

1 

Fluegel  Horn    . 

8 

8 

Alto  

1 

.-, 

11 

4 

19 

9 

1 

36 

Mellophone  

,-> 

•! 

9 

9. 

1 

3 

1 

17 

French  Horn  

3 

1 

1 

5 

Trombone  (slide)  .  .  . 
Trombone  (valve)   .  . 
Baritone  

3 

1 
8 

4 

9, 

4 

5 

8 

1 

3 

5 

11 

3 

25 

1 
27 

Tuba  

9, 

s 

-' 

4 

6 

7 

.-» 

29 

Snare  Drum 

15 

7 

7 

19 

11 

,5 

(i 

1 

64 

Bass  Drum  

8 

6 

* 

9, 

4 

8 

18 

Drums  &  Traps  

2 

3 

1 

8 

TOTALS  

185 

191 

205 

194 

184 

136 

187 

74 

1356 

^Orchestra  only. 


CHAPTER  VI 

INSTRUCTION  IN  THE  HIGH  SCHOOLS 

If  the  instruction  in  the  elementary  schools  has 
been  systematic,  making  allowances  for  the  usual 
percentage  of  pupils  who  never  attend  high  school, 
the  enrollment  in  the  high  school  orchestra  and 
band  should  show  a  greater  number  of  new  pupils 
each  year  than  are  regularly  graduated. 

Besides  the  pupils  who  come  into  the  high  school 
with  experience  in  playing,  and  with  at  least  two 
years'  instruction  as  a  basis  on  which  to  build, 
there  will  also  be  those  who  enter  all  city  high 
schools  from  outside  districts.  These  want  to 
take  advantage  of  the  free  instruction  that  is 
offered  and  begin  their  study  of  some  instrument. 
Those  pupils  too  who  have  not  realized  until  they 
have  reached  the  high  school,  that  they  have 
neglected  the  opportunity  of  learning  to  play  an 
instrument,  when  inspired  by  the  example  of  the 
other  students  who  are  studying  and  playing,  may 
decide  to  take  up  instrumental  music. 

Of  course,  the  procedure  is  the  same  in  the  high 
school  as  in  the  elementary  schools.  Pupils  start 
at  the  very  beginning,  and  after  a  year  of  pre- 
liminary study  they  can  be  taken  into  the  second 
or  beginning  orchestra,  and  be  promoted  into  the 
first  orchestra  before  they  are  graduated. 

As  graduation  in  every  high  school  takes  its 
quota  of  players  from  the  orchestra,  making  it 
necessary  to  fill  the  vacancies  and  complete  the 
instrumentation  of  both  band  and  orchestra,  the 

02 


INSTRUCTION   IN   HIGH  SCHOOLS  63 

instructor  in  charge  of  such  work  should  know, 
at  least  a  term  ahead,  those  pupils  who  are  to  be 
graduated.  He  will  be  able  then  to  prepare  other 
players  to  take  their  places,  so  that  no  perceptible 
break  will  occur  when  the  organizations  are  re- 
assembled the  next  year.  As  there  is  usually  a 
large  number  of  violin  players,  the  opportunity 
is  now  presented  to  develop  viola  players.  Here 
is  where  it  is  imperative  that  the  school  system 
should  provide  such  instruments. 

VIOLA    (Illustration  No.  13,  page  49) 

If  an  instrument  is  available,  a  good  violin 
player  can  master  the  new  clef  and  new  reading 
position  of  the  staff  in  at  least  a  month,  and  be 
ready  to  take  a  chair  in  the  second  orchestra  and, 
very  soon  after,  be  regularly  assigned  to  the  first 
orchestra. 

Each  high  school  should  own  several  violas, 
'cellos,  and  string  basses,  for  now  the  possibility 
of  transferring  pupils  from  one  instrument  to 
another  becomes  of  paramount  importance.  The 
'cello,  as  stated  before,  is  one  of  the  neglected  in- 
struments. If  there  are  no  'cello  players,  some 
must  be  developed,  either  by  training  entirely 
new  players,  which  requires  at  least  one  year,  if 
the  student  can  read  music, — otherwise  it  will 
require  two  years'  study  to  master  the  technique 
of  the  instrument  and  the  rudiments  and  reading 
of  music, — or  by  transferring  former  violin  players 
who  already  have  some  experience  in  playing  a 
string  instrument. 

STRING  BASS   ^s   the   string  bass   is   a  very   rare 

instrument  in  the  elementary  schools, 

it  devolves   upon  the  high  school  instructor  to 


64          PUBLIC   SCHOOL   ORCHESTRAS   AND    BANDS 

develop  string  bass  players,  vlf  no  violin  pupils 
can  be  induced  to  transfer,  it  frequently  happens 
that  a  piano  pupil  already  having  music-reading 
ability,  can  be  made  to  realize  the  added  advan- 
tage of  having  the  ability  to  play  upon  some  or- 
chestral instrument  besides  the  piano.  Nearly 
all  the  world-famous  artists  play  some  other  in- 
strument in  addition  to  their  chosen  solo  instru- 
ment. The  string  bass  is  the  most  easily  learned 
of  all  the  string  instruments.  As  it  strengthens  the 
left  hand,  it  is  also  of  added  value  to  the  piano 
pupil,  besides  giving  him  a  new  outlook  from  an 
orchestral  standpoint. 

FRENCH  HORN  The  next  important  transfer  is 
from  cornet  to  mellophone  or  horn. 
The  pupils  who  study  cornet  are  second  in  num- 
ber to  the  violin  students.  As  only  two  cornets 
can  be  used  in  the  orchestra  (four  at  the  most, 
using  the  extras  as  understudies) ,  there  are  always 
a  number  of  left-overs  who,  in  order  to  play  in  the 
orchestra,  will  transfer  to  the  mellophone  or  to 
the  French  horn.  If  the  work  in  the  high  school 
is  up  to  the  standard,  the  French  horn  should  be 
used  instead  of  the  mellophone,  which  is  more 
suitable  for  the  elementary  schools. 

"The  French  horns  are  the  principal  and  central 
support  of  harmony  in  the  orchestra.  They 
cannot  be  dispensed  with.  Their  absence  creates 
a  '  gap '  in  the  harmony  which  cannot  be  properly 
filled  by  any  other  instrument.  At  least  four 
French  horns  are  employed  in  the  complete, 
modern  orchestra.  In  the  author's  estimation 
there  should  be  three  in  a  small  concert  orchestra, 
as  no  chord  is  complete  with  less  than  three 
notes."  (From  Instrumentation,  by  Gaston 
Borch) . 


IXSTRUCTIOX  IX  HIGH  SCHOOL*  65 

The  single  horn  is  best  adapted  for  use  in  the 
high  schools  because  of  the  cost,  as  the  double 
horn  is  very  expensive  and  its  use  is  reserved  for 
professional  players.  Goldman  in  Amateur  Band 
Guide  says,  "The  French  horn  is  the  most  delicate 
and  probably  the  most  difficult  to  master  of  all 
brass  instruments.  It  is  particularly  noted  for 
its  richness  of  tonal  color,  and  for  the  variety  of 
effects  that  can  be  obtained  from  it." 

As  good  horn  players  are  always  in  demand  it 
is  not  amiss  to  encourage  a  student  to  make  an 
early  beginning  and  devote  himself  assiduously 
to  its  mastery.  Girls  make  satisfactory  horn 
players  and  can  acquire  a  reliable  "embouchure," 
although  they  do  not  develop  so  powerful  a  tone 
as  the  boys. 

OBOE  The  two  remaining  instruments,  the  oboe 
and  the  bassoon,  must  be  provided  by  the 
school  system  or  the  possibility  of  securing  players 
is  almost  out  of  the  question.  The  oboe  is  the 
most  difficult  to  play  of  all  the  wood-winds. 
"Oboe  playing  is  a  more  severe  strain  upon  the 
breathing  apparatus  because  the  expiration  must 
be  restricted.  The  breath  must  be  given  out  very 
slowly — a  more  abnormal  process  than  that  of 
blowing  on  other  instruments."  (From  Mistakes 
and  Disputed  Points  in  Music,  by  Elson).  The 
control  of  the  reed,  rather  than  the  fingering, 
complicates  the  problem.  To  begin  with,  the 
professional  players  always  make  their  own  reeds, 
and  this  accomplishment  is  not  easily  acquired  by 
high  school  boys.  Again,  the  store  reeds  are 
expensive  and  must  be  worked  over  to  fit  the 
individual  player.  They  are,  moreover,  delicate, 
easily  destroyed,  and  expensive,  and  all  of  these 


66          PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

troubles  added  to  the  squeak  which  amateurs 
produce,  tend  to  discourage  the  beginner.  Pro- 
moting a  clarinet  player  to  the  oboe  is  the  best 
transfer.  After  a  year  of  study,  he  will  begin  at 
least,  to  play  in  tune.  Up  to  that  time,  he  may 
both  read  and  finger  correctly,  but  not  be  able  to 
compress  his  lips  tightly  enough  to  produce  a 
pitch  that  will  be  in  tune.  This  pressure  of  the 
lips  and  the  development  of  the  muscles  of  the 
face  and  jaw  are  referred  to  as  an  "embouchure.*' 
The  French  horn  and  the  oboe  are  the  two  in- 
struments which  require  the  strongest  and  most 
perfect  development,  and  it  takes  a  student  some 
time  to  acquire  a  reliable  "embouchure"  for  these 
instruments.  It  is  necessary  then  to  be  patient 
with  the  pupils  while  they  are  going  through  the 
stages  of  acquiring  a  new  control  of  the  muscles 
of  the  lips  and  face. 

BASSOON    (Illustration  No.  11,  page  67) 

The  bassoon  is  similar  to  the  oboe  in  the  diffi- 
culty of  manipulating  the  reed.  Store  reeds 
are  expensive,  and  not  always  satisfactory,  and 
few  amateurs  can  acquire  the  art  of  making 
reeds  at  the  tender  age  of  the  average  high 
school  student.  Saxophone  and  clarinet  players 
make  quick  transfer  to  the  bassoon,  as  the  finger- 
ing and  the  reading  of  the  bass  clef  are  easily 
learned. 

The  viola,  'cello,  string  bass,  French  horn,  oboe, 
and  bassoon  are  the  unusual  instruments  that 
must  receive  attention  in  the  high  school  if  the 
instrumentation  is  to  be  made  complete.  Strive 
to  realize  the  ideal  and  secure  complete  instru- 
mentation (full  and  piano)  in  your  orchestra. 


IXXTRUCTIOX  7-V  HIGH  SCHOOLS 


67 


(Illustration  Xo.  13,  page  49).  The  School  De- 
partment can  and  should  supply  these  instru- 
ments, and  players  for  them  will  not  be  hard  to 
find  nor  impossible  to  develop. 

The  teacher  of  instrumental  music  in  the  high 
school  should  be  a  resident  teacher  devoting  his 


Xo.  11 


OBOE    AND    BASSOON 


Boy   at   left   with   oboe.       Bassoon   to   the   right. 

(Both  instruments  supplied  by  the  School  Department  and  loaned 
under  bond  to  the  pupils). 

entire  time  to  the  one  school.  He  can  then  give 
individual  lessons  to  the  new  pupils  and  to  the 
transfer  pupils,  and  develop  an  orchestra  out  of 
the  material  at  hand.  Pupils  can  always  find  a 
vacant  study  period  for  a  lesson,  and  some  can 


68          PUBLIC   SCHOOL   ORCHESTRAS   AND   BAXD* 

even  arrange  to  get  in  a  practice  period  every  day 
without  detriment  to  their  regular  studies. 

The  success  or  failure  of  a  good  orchestra 
depends  almost  entirely  upon  the  results  obtained 
from  the  individual  lesson  period.  Poor  players 
can  be  improved,  new  ones  developed,  difficult 
passages  in  certain  compositions  studied  as  in- 
dividual exercises,  and  the  entire  ensemble  of 
the  orchestra  improved  by  strengthening  each 
unit  by  itself. 

Frequently,  it  is  possible  to  get  a  group  of 
pupils,  who  need  help,  to  come  at  the  same  period, 
and  a  group  lesson  can  be  given.  While  this  is 
on  the  class-lesson  plan,  it  affords  opportunity  to 
rehearse  a  section  of  the  orchestra  and  develop 
the  accompaniment  parts  which  are  usually  so 
sadly  neglected  in  amateur  and  school  orchestras. 

As  credit  is  given  now  in  almost  all  the  pro- 
gressive high  schools  (see  schedules  Xos.  1,  ^ 
and  3)  for  orchestra,  band  and  all  other  music 
work,  it  is  essential  that  a  daily  rehearsal  period 
during  school  hours,  should  be  scheduled  for  the 
orchestra.  One  period  should  be  allowed  for 
this  rehearsal,  preferably  in  the  afternoon.  Such 
an  arrangement  leaves  the  morning  hours  free  for 
academic  subjects,  places  the  rehearsal  at  a  time 
when  it  will  interfere  least  with  other  studies,  and 
causes  the  pupils  to  \velcome  the  change  and 
relaxation  of  a  music  class. 

No  other  work  that  is  done  in  the  high  school 
can  so  thoroughly  demonstrate  the  finest  prin- 
ciples of  teaching  by  the  teacher  and  learning  by 
the  pupils  as  a  good  rehearsal  conducted  by  an 
expert.  If  a  symphony  orchestra  requires  a  three 
hours'  daily  rehearsal,  a  high-school  orchestra  is 
certainly  entitled  to  have  at  least  one  period  of 
forty-five  minutes  a  day. 


INSTRUCTION  I\  HIGH  SCHOOLS 


69 


CREDITS 


Schedule  .Vo.  1 


SUBJECTS    OFFERED    AND    THE    AMOUNT    OF     CREDIT 

GRANTED    FOR   THE   STUDY   OF   MUSIC   IN   THE 

HIGH   SCHOOLS   OF  OAKLAND,    CALIFORNIA 


SUBJECT 

Amount 
Per  Year 

Duration 
Number 
of  Years 

Total 
Possible 

Accepted 
toward 
Gradua- 
tion 

Accepted 
as  College 
Entrance 

DAILY  RECITATION 
45  Minute  Period 

Choral  

1 

1A 
Yz 
i 
i  ) 
i  ) 
i 

i 
i 

2 
2 
2 

1 

2 

4  or  2 

2 

4  or  2 

2 

1 

2 
1 
1 
1 

2 
2 
2 
1 

2 
1 
1 
1 

2 
2 
2 

1 
2 

1 
None 
None 
1 

1 
1 
1 

? 
None 

Boys'  Glee  

Girls'  Glee  

History  .                     

(  Beginning 
Harmony    < 
(  Advanced 

f  Only  f 

1   \Witir  Orchestra.  J 
(  Only  .  .         .  .  / 

Orchestra  j  ^  Ban(J      | 
Orchestration     

"Outside  Credits 

Piano  M  ust  have  one  year  of  Harmony  to  obtain  2  credits. 

Voice  Must  have  one  year  of  Choral  to  obtain  2  credits. 

Violin  and  other 
orchestral  in- 
struments Must  have  one  year  of  Orchestra  to  obtain  2  credits. 


Pupils  that  make  Music  a  Major  can  secure  a  total  of  eight  credits. 


Any  three  of  which  will  be  accepted  for  Col- 
lege Entrance  as  follows: 


*Examination  given  once  each  semester. 


1  Choral 

1  Harmony 

1  History 

1  Orchestra 

1  Band 


70          PUBLIC  SCHOOL   ORCHESTRAS   AND   BANDS 

HIGH   SCHOOL    MUSIC    DEPARTMENT    BULLETIN 

PART  ONE 
Schedule  No.  g 

1.  Sight    Singing 1    year    only — 1   credit 

For  those  who  have  had  no  training — a 
drill  course. 

2.  Choral 1   or  2  years  at   1   credit 

For  those  who  have  some  knowledge  of 
sight  singing.  This  course  includes  sight 
singing  of  four-part  choruses. 

3.  Girls'  Glee 2  years — >£    credit 

Three-part  singing. 

4.  Boys'  Glee 2    years — J^    credit 

Three  and  four-part  singing. 

5.  Harmony 2  years — 1  credit  each 

Scales,  melodies,  chords,  the  writing  of 
songs  and  short  pieces  for  piano,  etc. 
This  course  is  strongly  urged  for  all  music 
students,  whether  interested  in  band, 
orchestra,  piano,  or  voice.  First  term 
Harmony  is  part  of  the  Normal  School 
entrance  required. 

6.  Orchestration 1   year —  1  credit 

How  to  arrange  music  for  orchestra  or 
band.  This  course  follows  the  two  year 
harmony  course. 

7.  Band See  instrumental  music  list,  No.  2 

8.  Orchestra See  instrumental  music  list,  No.  2 

9.  History  and  Appreciation  of  Music 

5  times  a  week — 1  year — 1  credit 

No  credits  are  allowed  in  the  elementary 
schools  for  instrumental  or  vocal  music.  While 
the  pupils  receive  a  grade  on  their  report  cards 
for  the  work  done  each  semester,  this  grade  does 
not  retard  the  progress  of  the  pupil  if  his  music 
work  is  not  up  to  standard  nor  will  his  music 
grade  (even  if  he  be  an  infant  prodigy),  pass 
him  on  if  the  record  in  his  other  studies  fails  to 
meet  the  required  standard.  Only  in  the  high 
school  are  credits  for  music  studv  allowed  and 


INSTRUCTION  IX  HIGH  SCHOOLS  71 

recognized  toward  graduation  and  also  for  mat- 
riculation in  the  University. 

If  the  pupils  of  the  elementary  organizations 
absent  themselves  from  three  consecutive  re- 
hearsals, they  are  dropped  from  the  roll  for  that 
semester,  but  may  be  re-instated  the  next  sem- 
ester, if  they  comply  with  the  regulations  regard- 
ing the  regular  attendance  at  rehearsals. 

In  the  high  schools,  the  credit  may  be  withheld, 
or  denied  entirely  if  the  pupil  does  not  take  part 
in  the  public  performances  and  those  functions 
of  the  school  activities  of  which  the  orchestra  or 
band  is  an  integral  part.  It  is  mandatory  then, 
that  those  pupils  who  expect  credit  for  music 
work  of  any  kind  in  the  high  school  should  appear 
and  take  an  active  part  in  all  public  performances. 

The  charts  following  enumerate  the  different 
subjects  offered,  the  number  of  years  that  each 
subject  may  be  pursued,  the  amount  of  credit 
allowed  for  each  subject,  the  total  number  of 
credits  that  may  be  obtained  in  the  study  of 
music,  the  number  accepted  toward  graduation 
and  the  number  recognized  by  the  University 
toward  matriculation. 

HIGH   SCHOOL  CREDITS  GRANTED  FOR  "OUTSIDE 
STUDY'*  IN  Music 

Schedule  No.  3 

MUSIC    DEPARTMENT   BULLETIN 

PART  Two 

I.     For   College   Preparatory   Course   (Matric.,   Group   I),    3   units 
may  be  chosen  from  the  following: — 

Choral,  band  or  orchestra  1 

Harmony  1  or  2 

History  and  appreciation  1 


72 

An  additional  unit  may  be  offered  for   graduation    chosen  from 
any  of  the  nine  music  courses  tabulated  below. 

NOTE: — Recommendation   in  Choral    is   on    the   ability  to   sing 
at  sight. 

II.     For  Normal  School  Course  required 

Harmony  A,  J^,  and  Sight  reading  J^  or  choral  J£ 

III.  For  graduation  from  high  school  under  the  "  three  years 
of  three  subjects"  plan,  this  course  is  recommended  for 
students  specializing  in  music. 

Choose  not  more  than  two  from  group  1  to  6  (inclusive). 

1 — Sight  reading  1  credit 

2 — Choral  1 
3— Girls'  Glee 
4— Boys'     " 

5— Band  1  or  2 

6 — Orchestra  1  or  2 

the  remainder  from  7  to  10  (inclusive) 

7— Harmony  A,  B,  C,  D  1  or  2  credits 

8 — History  and  appreciation  1 

9 — Outside  instrumental  1  or  2 

10 — Orchestration  1 

As  many  as  eight  units  may  be  included  under  this  plan. 

Freshmen  are  eligible  to  all  music  courses  except    History  and 
Appreciation,  and  Orchestration. 

The  total  number  of  credits  that  can  be  at- 
tained is  two,  one  credit  granted  for  each  exam- 
ination. Pupils  can  register  for  these  exam- 
inations in  any  of  the  four  years  of  the  high 
school,  with  these  restrictions: — The  examination 
can  be  taken  only  on  the  examination  date  given 
at  the  end  of  each  school  semester.  To  be  eligible 
for  the  second  piano  examination  ir  violin  ne- 
cessitates one  year  of  "playing  experience"  in  the 
High  School  Orchestra.  The  second  examination 
in  voice  requires  one  year  of  "singing  experience" 
in  the  Choral  Class. 

Four  points  are  considered  for  piano  and 
violin  :— 

The  first  requisite:  Scales — Ability  to  play  any 
of  the  major  scales  and  any  of  the  harmonic 


INSTRUCTION   7.V   HIGH   SCHOOLS  73 

minor  scales  through  the  key  of  seven  sharps  and 
seven  flats,  in  two  rhythms  that  may  be  called  for 
by  the  Board  of  Examiners. 

The  second  requisite*  Sight  Reading — Pupils 
must  be  able  to  read  compositions  in  four-part, 
the  choral  type,  moderately  difficult. 

The  third  requisite:  Studies — Pupils  may  sub- 
mit and  play  from  their  own  repertoire  one  or 
more  etudes  or  studies."  Bach  Two-part  Inven- 
tions are  required.  These  should  be  played  from 
memory. 

The  fourth  requisite :  Compositions — Pupils  may 
play  any  compositions  from  their  own  repertoire. 
These  etudes  and  compositions  must  be  of  equal 
difficulty,  from  a  musical  standpoint,  as  are  the 
other  High  School  Studies.  Pieces  or  composi- 
tions for  the  first  examination  should  be  played 
from  memory.  In  the  second  examination,  memo- 
rization is  required. 

The  Board  of  Examiners  reserve  the  right  to 
withhold  credit,  if,  in  their  judgment,  the  pupil 
does  not  demonstrate  (1)  that  his  musical  quali- 
fications are  on  a  par  with  his  other  studies; 
(2)  that  he  has  done  advanced  study  in  tech- 
nique; (3)  that  he  had  practised  at  least  one 
hour  a  day,  and  proved  by  his  general  musical 
performance  that  he  is  entitled  to  the  credit. 

The  examinations  will  be  given  at  the  end  of 
each  semester,  on  the  first  Saturday  in  November 
and  May.  All  pupils  desiring  to  take  an  exam- 
ination should  make  application  to  one  of  the 
music  teachers  in  the  high  school  which  they 
attend  and  be  registered  at  least  one  week  before 
the  date  of  examination.  If  the  pupil  cannot  be 
present  on  the  day  the  examination  is  set,  he  must 
forfeit  the  opportunity  of  taking  the  examination 


74  PUBLIC   SCHOOL    ORCHESTRAS    AND   BANDS 

and  consequently,  the  credit  for  that  semester. 
Only  one  examination  will  be  given  each  semester. 
When  credit  is  withheld,  the  Board  of  Examiners 
will  make  a  statement  to  the  pupil,  setting  forth 
those  points  which,  in  their  judgment,  the  pupil 
can  improve.  If  the  student  desires  to  enroll 
again  the  next  semester  for  the  same  examination, 
the  privilege  will  be  granted. 

Pupils  receiving  credit  for  playing  the  piano 
in  the  orchestra  cannot  count  this  credit  as  an 
equivalent  of  either  examination.  They  are  elig- 
ible, however,  to  take  the  examination  for  Out- 
side Credits,  providing  the  conditions  herein 
stated  are  complied  with. 

Pupils  playing  other  instruments,  such  as  the 
'cello,  cornet,  clarinet,  horn,  trombone,  etc.,  are 
entitled  to  consideration  for  credit  and  the  con- 
ditions stated  herein  will  be  modified  only  in  the 
adaptation  of  the  general  plan  to  the  special  case. 

CHART  No.  1 

PROGRAM     OF     A     HIGH     SCHOOL     INSTRUMENTAL 
TEACHER      SHOWING      INDIVIDUAL      LESSONS 
GIVEN     EACH     WEEK     ALSO     THE     INSTRU- 
MENTATION  OF   THE   ORCHESTRAS   AND 
BAND,   REHEARSING   EVERY   DAY 


Mon.      Tues.      Wed.      Thurs.       Fri.        TOTAL 

NUMBER  OF  LESSONS  GIVEN  EACH  DAY 

Piano  

2 

2 
1 

3 

2 

7 

2 

1 

1 

1 

1 
1 
1 
1 
1 

3 

1 
4 

>» 
1 

1 

1 
1 

7 
1 
8 
4 

1 

4 

1 
2 
8 
5 

Violin  

Viola  

'Cello  

String  Bass  

Piccolo  

Flute  

Clarinet    

Oboe  

Bassoon  

Saxophone    

Cornet  .  . 

I\*TRUCTIO\   IX   HIGH  SCHOOLS 


75 


PROGRAM  ix  HIGH  SCHOOL  No.  1 — continued 

Mon.       Tues.       Wed.       Thurs. 


Fri.        TOTAL 


NUMBER  OF  LESSONS  GIVEN  EACH  DAY 


Trumpet  

Fluegel  Horn  
Alto  

1 

1 

3 

Mellophone 

French  Horn 

1 

1 

Baritone  

2 

2 

Trombone  (Slide 
Trombone  (Valve) 
Tuba 

1 

1 

1 

2 
1 

Snare  Drum 

Bass  Drum  

Drums  &  Traps  .  .  . 

1 

1 
51 

INSTRUMENTATION   OF   BAND    OR   ORCHESTRA 

1st  Orchestra        2nd  Orchestra        Band 


Violin    .       

18 

17 

Viola       

2 

'Cello 

4 

3 

String  Bass 

3 

1 

Piccolo    

1 

2 

Flute      

1 

Clarinet  

2 

2 

11 

Oboe  

1 

Bassoon  

2 

1 

Saxophone  

6 

Cornet       

2 

1 

10 

Trumpet  

Fluegel  Horn  
Alto    

1 

Mellophone  . 

1 

French  Horn  
Trombone  (Slide)  . 
Trombone  (Valve) 
Baritone  

3 
2 

1 

4 
3 

4 

Tuba  

1 

3 

Snare  Drum 

1 

1 

2 

Bass  Drum  

1 

1 

2 

Drums  &  Traps  .  .  . 
Piano  

1 
2 

1 
2 

46 

31 

49 

116 
167 

PROGRAM  IN  HIGH  SCHOOL  No.  1 


76 


PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 


CHART  No.  2 

PROGRAM     OF     A     HIGH     SCHOOL     INSTRUMENTAL 
TEACHER  SHOWING  INDIVIDUAL  LESSONS  GIVEN 
EACH   WEEK;   ALSO  THE  INSTRUMENTATION 
OF     ONE     ORCHESTRA     AND     BAND     RE- 
HEARSING  EVERY   DAY 

Mon.       Tues.       Wed.     Thurs.       Fri.        TOTAL 
NUMBER  OF  LESSONS  GIVEN  EACH  DAY 


Piano  

Violin      

7 

2 

2 

3 

6 

20 

Viola  

2 

1 

1 

4 

'Cello  

2 

1 

4 

String  Bass  

1 

2 

3 

Piccolo  

Flute  

1 

1 

Clarinet  

1 

1 

2 

4 

Oboe  

Bassoon  

1 

1 

2 

4 

Saxophone  

1 

1 

2 

Cornet  .  . 

3 

1 

2 

2 

8 

Trumpet  

Fluegel  Horn  
Alto  

Mellophone  

French  Horn  
Trombone  (Slide) 
Trombone  (Valve) 
Baritone  

1 

1 

3 

2 

3 

1 

3 

Tuba  

1 

1 

2 

Snare  Drum  

Bass  Drum  

Drums  &  Traps  .  .  . 

59 

INSTRUMENTATION  OF  BAND  OR  ORCHESTRA 
BAND          ORCHESTRA 


Violin         

17 

Viola  

4 

'Cello  

3 

String  Bass  

3 

Piccolo  

1 

Flute  

2 

Clarinet  

5 

4 

Oboe      

Bassoon  

1 

2 

Saxophone    

2 

Cornet  

6 

4 

Trumpet  .  . 

INSTRUCTION    7.V   UK.II   SCHOOLS 


77 


PROGRAM  i.v  HIGH  SCHOOL  No.  •> — continued 

INSTRUMENTATION  OF  BAND  OH   ORCHESTRA Continued 


BAND 


ORCHESTRA 


TOTAL 


Fluegel  Horn  
Alto  

Mellophone  ... 

1 

French  Horn  
Trombone  (Slide)  . 
Trombone  (Valve; 
Baritone  

3 

2 

2 

Tuba 

3 

| 

Snare  Drum 

2 

1 

Bass  Drum  

1 

1 

Drums  &  Traps  .  . 
Piano 

30 

47 

77 
136 

PROGRAM   IN    HIGH   SCHOOL  No.  2 


CHART  Xo.  3 

DAILY    PROGRAM    IN    A    HIGH    SCHOOL    HAVING     THREE 

RESIDENT  TEACHERS  DEVOTING  THEIR  ENTIRE 

TIME    TO    MUSIC    INSTRUCTION 


PERIODS 


TEACHER 
No.  1 


TEACHER 
No.  2 


TEACHER 
No.  3 


I 

8.00-8.4.5 

Supervision    of  work  in 
Elementary  Schools  one 
morning  each  week. 

II 

s.l.-;-!).  30 

HARMONY* 
Third  and 
Fourth  term 

CHORAL 
Third  and 
Fourth  term 

Individual  Instruction 

III 

9.30-10.1.5 

Choral 
Third  and 
Fourth  term 

Chord 

First  term 

Individual  Instruction 

IV 
10.15-11.00 

HARMONY* 
First  and 
Second  term 

CHORAL 
•nd  term 

Individual  Instruction 

ii.oo-ii  r, 

M  \JOR 

PERIOD 

Individual    Consultation    and    advisory 
Period  Instruction 

78 


PUBLIC  SCHOOL   ORCHESTRAS  AND   BANDS 


CHART  No.  3 — continued 

DAILY  PROGRAM  IN  A  HIGH  SCHOOL — continued 


PERIODS 


TEACHER 

No.  1 


TEACHER 
No.  2 


TEACHER 
No.  3 


V 

11.45-12.00 

CHORAL 
Second  term 

HISTORY* 
Second  term 

Individual  Instruction 

VI 

12.00-12.45 

LUNCH 

LUNCH 

LUNCH 

VII 

12.45-1.20 

STUDY 
HALL 

OFFICE 

2nd  Orchestra 

VIII 

1.30-2.15 

HARMONY* 
First  and 
Second  term 

STUDY 
HALL 

Orchestration 

IX 

2.15-3.00 

STUDY 
HALL 

HISTORY* 
First  term 

1st  Orchestra 

X 

3.00-3.45 

Band  rehearsal 

^Cumulative  Harmony,  by  Wm.  J.  McCoy,  published  by  Ginn  &  Co.,  Boston,  Mass., 
and  Outlines  of  Music  History,  by  Clarence  G.  Hamilton,  published  by  Oliver 
Ditson  Co.,  Boston,  Mass.,  are  the  text  books  used. 


CHART  No.  4 

COST     OF     INSTRUMENTAL     INSTRUCTION     IN     THE 
HIGH   SCHOOLS 

Cost  per 
Lesson 

62,680  pupils  in  group-lessons  given  each  week,  for  forty  weeks 
a  year,  including  the  daily  attendance  at  rehearsals  of  both 
band  and  orchestra  in  all  the  high  schools  at  a  total  cost  of 
$4,829.40 $.077 

7,310  individual  lessons  of  forty-five  minutes  each,  once  a  week, 

for  forty  weeks  a  year  at  a  total  cost  of  $4,829.40  per  year    .656 


COST     OF     INSTRUCTION     IN     ELEMENTARY     SCHOOLS 

124,460  pupils  in  group-lessons  a  year,  including  the  weekly  at- 
tendance at  rehearsals  of  both  band  and  orchestra  in  all 
schools,  at  a  total  cost  of  $9,118.62 $.073 

54,280  individual  lessons  of  twenty  minutes  each,  once  a  week, 

at  forty  weeks  a  year,  at  a  total  cost  of  $9,118.62    a    year    .168 


IXSTRUCTIOX  7.V  HIGH  SCHOOLS  79 

STRING  QUARTETS 

Besides  the  orchestra  work,  it  is  often  possible 
to  have  auxiliary  organizations  such  as  string, 
brass,  and  wood-wind  quartet  composed  of  the 
advanced  players  in  the  regular  orchestra.  Many 
fine  compositions  are  written  for  string  orchestra 
and  for  other  combinations  of  instruments  that 
are  of  inestimable  value  for  the  pupils  to  study. 
Additional  activities  are  limited  only  by  lack  of 
time  for  preparation,  or  by  the  instructor's 
meager  enthusiasm  and  ability.  The  pupils  are 
ready  at  all  times  to  play  and  rarely  refuse  to 
participate  in  any  musical  combinations  that 
achieve  artistic  results. 

HARMONY  AND  ARRANGING 

To  make  complete  the  instrumental  training 
that  it  is  possible  to  offer  and  that  should  be  in- 
cluded in  every  progressive  high  school,  a  two 
years'  course  in  harmony,  with  credit  for  daily 
recitations,  should  be  given.  With  such  a  founda- 
tion in  harmony  students  can  take  up  the  study 
of  arranging.  In  some  courses  of  study,  this 
subject  is  listed  as  "instrumentation,"  supposing 
composition  to  be  the  ultimate  aim  of  the  instruc- 
tion. While  such  should  be  the  aim  of  a  similar 
course  offered  in  a  conservatory,  the  purpose  in 
the  high  school  should  be  confined  largely  to  ac- 
quiring facility  in  arranging  compositions  for 
orchestra  or  band.  Any  high  school  student  who 
has  completed  twro  years'  study  of  harmony  can 
acquire  the  ability  to  arrange  small  compositions 
for  full  orchestra  and  still  not  sacrifice  his  other 
studies. 


80       /'/  fiLIC  SCHOOL  ORCHESTRAS  AND  BANDS 

EFFECT  OF  FREE  INSTRUCTION  UPON  THE  PRIVATE 
TEACHER 

Frequently  the  question  is  asked  as  to  the 
effect  free  instruction  will  have  upon  the  studio 
work  of  the  private  teacher.  Free  instruction 
in  the  schools  is  given  for  one  reason,  that  all 
students  may  have  an  opportunity  of  acquiring 
a  musical  education  regardless  of  the  financial 
condition  of  the  parents.  This  means  also  that 
many  students  will  avail  themselves  of  the  free 
instruction  just  because  it  is  free.  While  com- 
paratively few  students  who  take  up  the  study 
of  music  give  it  up  voluntarily,  more  pupils  are 
mediocre  than  are  unusually  talented. 

The  free  instruction,  then,  has  a  tendency  to 
prepare  the  material  for  the  advanced  teacher.  The 
stages  through  which  all  students  must  pass, 
dislike  of  practice,  lack  of  interest,  absence  of 
musical  conception,  and  many  other  seeming 
weaknesses,  which  are  always  objectionable  to  the 
private  teacher,  are  now  borne  by  the  school  in- 
structor. After  the  students  have  passed  through 
these  stages  of  "musical  ailments"  and  arrived 
at  the  "playing  stage,"  they  begin  to  take  a  new 
interest  in  their  study  and  are  anxious  to  progress 
more  rapidly  than  the  short  and  limited  lesson 
period  of  the  school  instructor  will  permit.  They 
are  easily  encouraged  and  influenced  then  to  take 
lessons  from  a  private  teacher. 

In  brief,  then,  while  the  private  teachers  do  not 
get  so  many  beginning  students,  they  later  get 
pupils  who  have  passed  through  the  beginning 
stages  of  development  and  are  ready  to  receive 
and  able  to  comprehend  the  finer  points  of  spe- 
cialization that  are  taught  by  the  private  teachers. 


INSTRUCTION   IN   77/G/7   SCHOOLS  81 

The  report,  submitted  after  more  than  three 
years  of  actual  experience  in  which  the  plan  has 
been  in  operation,  shows  that  the  best  private 
teachers  heartily  approve  it.  They  endorse  the 
plan,  because  the  pupils  that  have  come  to  them 
have  already  acquired  a  foundation  upon  which 
to  build,  and  the  reading  and  ensemble  ability 
which  they  possess  is  of  excellent  assistance  to 
them  in  their  work.  The  pin-money  teacher 
complains  of  the  plan,  but  the  highly  specialized 
teacher  approves  it  as  a  system  by  which  more 
pupils  are  led  to  develop  a  permanent  interest  in, 
and  an  appreciation  of,  music  and  instrumental 
playing. 


CHAPTER  VII 

BANDS  IN  THE  ELEMENTARY  SCHOOLS 
(Illustration  No.  14,  page  93) 

A  band  is  distinctly  a  boys'  organization.  A 
real  boy  is  noisy  and  boisterous  and  his  superfluous 
energy  needs  some  avenue  of  escape.  Energy 
must  not  be  lost,  but  should  be  directed  into  the 
right  channel.  Next  to  such  estimable  organ- 
izations as  the  Boy  Scouts,  a  band  is  one  of  the 
best  activities  to  direct  the  exuberance  of  youth 
into  proper  channels.  Any  boy  of  normal  attain- 
ments and  mentality,  who  has  good  teeth,  can 
learn  to  play  any  wind  instrument. 

In  the  elementary  schools,  it  is  possible  to 
organize  and  develop  a  good  band  in  every  build- 
ing. This,  of  course,  presupposes  that  the  prin- 
cipal is  interested  in  such  a  proposition  to  the 
extent  of  lending  his  support  and  co-operation, 
and  by  exerting  himself  to  arouse  enthusiasm  for 
the  project  among  the  boys  of  his  school. 

CLARINETS  (Illustration  No.  6,  page  44) 

In  order  to  have  a  good  band,  two  clarinet 
players  should  be  developed  for  every  cornet 
player.  As  the  cornet  is  more  popular,  it  stands 
to  reason  that  the  obstacle  is  one  that  can  only 
be  overcome  by  creating  a  greater  interest  in  the 
clarinet.  If  the  instructor  is  not  a  performer  on 
the  clarinet,  he  should  get  some  clarinetist  to 
come  to  the  school  and  give  a  demonstration  for 

8£ 


BAXDS  i.\  /•:/./; M  /•:.%'  y.i/vr  SCHOOLS 


83 


the  boys  and  their  parents,  explaining  the  various 
points  of  excellence  and  advantage  of  the  clarinet, 
and  playing  some  selections  that  will  illustrate 
the  flexibility  of  its  technique,  its  tone,  and  its 
compass.  Such  procedure  rarely  fails  to  produce 
the  desired  results 


No.  12 


C-MELODY    SAXOPHONE 


A  good  substitute  for  the  'Cello  and  a  splendid  reinforcement  to  it. 
(Instrument  owned  by  the  player). 


84          PUBLIC   SCHOOL   ORCHESTRAS   A\D    BANDS 

The  easiest  instrument  for  any  pupil  to  learn 
is  the  Saxophone.  It  is  an  excellent  solo  instru- 
ment for  the  home  and  any  one  of  the  five  different 
kinds,  soprano,  alto,  tenor,  baritone,  and  melody, 
is  equally  desirable.  These  instruments  always 
lend  splendid  volume  and  sonorousness  to  the 
band.  The  present  popularity  of  the  instrument 
is  much  in  its  favor. 

HORNS  OR  ALTOS  (Illustration  No.  8,  page  46) 

Most  boys,  as  well  as  the  parents,  like  a  solo 
or  melody  instrument.  It  is  always  difficult  to 
hold  the  interest  of  boys  who  are  assigned  to  the 
altos  or  horns.  As  the  chord  or  accompaniment 
parts  are  played  on  these  instruments,  they  are 
very  necessary  in  the  band  and  the  more  altos 
there  are,  in  proportion  to  the  size  of  the  band, 
the  greater  the  sonorousness  of  the  tone  and  the 
fullness  of  the  harmony.  Four  players  assigned 
respectively  to  1st,  2nd,  3rd,  and  4th  parts  should 
always  be  represented  in  every  band.  Two  will 
suffice,  however,  if  the  band  is  small. 

TROMBONE  (Illustrations  Nos.  9,  14  and  17) 

A  band  is  ahvays  "resplendent  in  glory,"  if  it 
has  a  large  trombone  section.  The  slide  trom- 
bone is  another  excellent  solo  instrument;  it  is, 
however,  difficult  to  play,  but  the  final  mastery 
of  the  instrument  is  worth  all  the  effort  exerted 
in  acquiring  its  technique. 

BARITONE  (Illustrations  Nos.  14  and  15) 

The  baritone  is  the  exquisite  solo  instrument 
of  the  band.  It  is  the  principal  instrument  carry- 


BANDS   7.V    ELEMENTARY   SCHOOLS  85 

ing  the  counter-melody  passages,  and  to  it  are 
assigned  most  of  the  effective  solos.  One  bari- 
tone is  always  necessary,  more  are  not  objection- 
able. This  is  another  rare  solo  instrument  neg- 
lected by  students  for  the  over- worked  cornet. 
It  is  advisable  for  the  school  system  to  own  a 


Xo.  17 


TROMBONES 
From  Technical  High  School  Band 


few  of  these  instruments.  Transfer  to  them  some 
of  the  many  cornet  players.  Besides  the  im- 
portance of  the  baritone  as  the  principal  solo 
instrument  of  the  band,  it  can  be  utilized  to 
play  the  'cello  parts  in  the  orchestra,  in  the  ab- 
sence of  that  instrument.  Baritone  players  should 
always  be  taught  to  read  in  the  bass  clef.  While 
a  treble  clef  part  is  always  printed  in  all  band 


86          PUBLIC  SCHOOL   ORCHESTRAS   AND   BANDS 

music,  it  is  a  transposed  part,  and  baritone 
players  should  learn  to  read  the  part  in  the  range 
of  the  bass  clef,  just  where  it  sounds. 

TUBA  (Illustration  No.  9,  page  47) 

A  band  is  not  to  be  thought  of  that  does  not 
have  at  least  one  tuba  and  more  than  one  is  de- 
sirable. The  bass  is  as  important  as  the  melody, 
and  a  melody  without  a  bass  is  insipid.  Just  in 
proportion  to  the  prominence  of  the  bass  part  will 
be  the  brilliancy  of  the  melody  or  solo  part. 

PICCOLO  (Illustration  No.  14 — 2nd  in  1st  row,  left, 

page  93) 

On  account  of  the  small  size  of  the  instruments 
themselves  the  piccolo  and  the  E-flat  clarinet*  are 
well  adapted  for  use  in  the  bands  of  the  elementary 
schools.  Every  flute  player  can  play  the  piccolo, 
for  the  fingering  is  the  same.  The  players  usually 
own  both  instruments.  In  the  orchestra,  the 
flute  player  uses  a  C  piccolo  and  in  the  band  D-flat 
piccolo.  The  altitude  of  the  pitch  and  the  pene- 
trating tone  are  so  brilliant  that  one  piccolo  alone 
is  sufficient  for  a  band. 

E-FLAT  CLARINET  (Illustration    No.     14,    3rd    in 
1st  row,  left,  page  93) 

The  E-flat  clarinet  is  probably  the  best  clarinet 
for  the  small  pupils  of  the  elementary  schools  to 
use  in  beginning  their  study.  The  fingering  is 
the  same  as  the  B-flat  clarinet,  and  the  small 
size  of  the  instrument  is  of  added  advantage  for 
the  limited  reach  of  the  small  hands  and  short 
fingers  of  the  young  pupils.  Like  the  piccolo, 
one  E-flat  clarinet  is  all  that  is  needed  to  balance 


/;.-!. V/JX    I.\    KI.EMKXTARY    SCHOOLS  87 

the  tone  of  a  full  band.  Both  of  these  instru- 
ments should  receive  more  attention,  especially 
in  the  elementary  schools,  where  it  is  possible  to 
give  them  extra  consideration  on  account  of  their 
size,  their  adaptability  to  the  small  hands  of  the 
players,  their  usefulness  in  the  band,  and  their 
comparatively  low  cost. 

B-FLAT  CLARINETS  (Illustration  No.  6,  page  44) 

So  much  has  already  been  said  in  favor  of  the 
Clarinets  that  it  remains  only  to  speak  of  their 
use.  The  parts  are  written  for  solo,  1st,  2nd, 
and  3rd  clarinets.  Two,  even  three,  players  can 
be  assigned  to  each  part  without  submerging  the 
brass  section.  A  band  depends  upon  the  clarinet 
section  for  its  brilliancy,  and  the  fluent  scale 
passages  and  runs  demand  that  the  players  must 
either  have,  or  soon  acquire,  a  facile  technique, 
for  the  clarinets  in  the  band  assume  the  florid 
parts  that  are  assigned  to  the  violins  in  the 
orchestra. 

DRUMMERS  (Illustration  No.  10,  page  48) 

The  rhythm  of  the  band  music  is  governed 
largely,  if  not  almost  entirely,  by  the  drum  sec- 
tion. Trap  drummers  are  usually  not  effective. 
Moreover,  the  use  of  trap  drummers  should  not 
be  encouraged  in  school  organizations.  It  is  better 
to  develop  independent  players  for  both  the  snare 
and  the  bass  drum.  A  good  band  can  be  easily 
handicapped  by  a  poor  drum  section  and  an  other- 
wise poor  band  will  be  materially  improved  by 
good  drummers.  While  the  drum  is  the  favorite 
instrument  of  the  boy,  it  does  not  follow^  that 
all  boys  make  good  drummers.  In  fact,  the  hardest 


88         PUBLIC  SCHOOL   ORCHESTRAS  AND   BANDS 

section  to  improve,  the  last  to  become  responsive, 
the  one  most  apt  to  "fake"  from  the  printed  part, 
is  that  of  the  drummers.  As  the  drum  parts  con- 
tain the  rhythmic  outline,  the  dynamic  accents, 
and  many  unique  effects  from  the  "traps,"  com- 
posers and  arrangers  always  write  an  effective 
and  important  drum  part.  In  order  to  be  played 
correctly,  it  must  be  read  correctly,  and  few  boys 
learn  to  read  the  drum  parts.  The  notation  for 
all  other  instruments  represents  both  pitch  and 
rhythm,  but  the  drum  notation  represents  rhythm 
only.  A  good  player,  then,  must  read  the  printed 
part  accurately  and  be  able  to  sense  the  rhythm  of 
a  composition,  which  sense,  although  strongly 
intuitive  in  almost  every  individual,  demands 
careful  training,  hard  and  devoted  study,  to  elevate 
it  to  a  degree  of  proficiency. 

The  solo  instruments  which  the  pupils  usually 
own  or  will  purchase  are,  cornets,  trombones, 
baritones,  clarinets,  saxophones  and  snare  drums. 
To  be  sure  then  that  the  band  will  be  effective 
in  its  instrumentation,  the  school  system  should 
furnish  altos  or  mellophones,  tuba,  oboe,  bassoon 
and  bass  drums  with  attached  cymbal.  With 
these  instruments  available,  the  instructor  can 
develop  players  for  them  and  have  a  band  in 
which  the  instrumentation  is  complete  enough 
to  produce  an  endurable  noise.  The  following 
list  of  necessary  instruments  in  a  band  will  show 
the  balance  of  instruments  for  a  small,  a  large, 
and  a  full  band.  The  last  is  more  easily  formed 
in  the  high  school,  but  is  not  impossible  in  the 
elementary  school,  if  the  best  players  are  drawn 
from  other  schools,  with  the  main  idea  of  seeking 
the  players  needed  to  make  a  ivell-balanced  band. 
(See  pages  93  and  98,  illustrations  14  and  15.) 


BANDS    I.\   ELEMENTARY   SCHOOLS 


89 


The  instrumentation  of  the  average  elementary 
school  band  is  as  "mongrel"  as  the  orchestra. 
A  predominance  of  solo  instruments,  and  a  lack 
of  the  harmony  instruments,  makes  an  unbalanced 
group,  which  is  not  designed  to  produce  a  very 
musical  effect.  Instruments  should  be  supplied 
to  attain  the  ideal  balance  of  parts.  (See  next 
Chart). 

SUGGESTED      BALANCE    OF    INSTRUMENTS    IN    A    BAND 

Small     (13)          (18)    Lge.(27)        (35)Full  (45) 

Solo  Cornet  2  2  2  2  1 

1st  1111 

2nd  11122 

3rd  1122 

1st  &  2nd  Alto  22222 

3rd  &  4th     "  2  2  * 

1st  &  2nd  Trombones  1  2  2  2  1+2 

3rd  1  1 

Baritone  11122 

Tuba  1123  3+lBB-flat 

Drums  22222+1 

Piccolo  (D-flat)  1  1+Flutel+Flute 

E-flat  Clarinet  1  1  1 

Solo  "  12334 

1st  11222 

2nd  11223 

3rd  "  1223 

Oboe  1  1 

Bassoon  1  1 

4  Saxophones 

Saxophones  can  be  used  in  any  combination.     E-flat  alto  Saxo- 
phone may  be  substituted  for  the  solo  or  1st  E-flat  Alto. 

In  the  absence  of  a  printed  part  let  the  soprano  Saxophone  play 
from  the  solo  or  1st  Cornet  part. 

Alto  Saxophone  play  from   the   E-flat   Cornet    part    8va,   where 
possible. 

Tenor  Saxophone  play  from  the  Baritone  treble  clef  or  tenor  part. 

Melody  Saxophone  play  from  the  Baritone  bass  clef   or  Bassoon. 

Baritone  Saxophone  play  from  the  3rd  Trombone  bass  clef  or  Bass 
part  or  Bassoon. 

Oboe  play  from  the  1st  Cornet  part  transposed  one  tone  lower. 

Bassoon  play  from  the  baritone  bass  clef,  3rd  Trombone  or  a  Bass 
part. 

French  horn  players  (horn  in  F)  usually  transpose   the  E-flat  alto 
one  tone  lower. 

For  a  marching  band   DOUBLE   THE   SOLO   CORNETS. 


90          PUBLIC  SCHOOL  ORCHESTRAS  AND  BANDS 

CARE  or  INSTRUMENTS 

A  band  is  a  great  machine,  having  many  me- 
chanical parts  which  are  almost  as  intricate  as  a 
Hoe  printing  press.  Every  instrument  is  in  itself 
a  complete  mechanical  device  and  if  one  key  will 
not  work  or  a  valve  sticks  or  a  tuning  slide  is 
corroded,  the  usefulness  of  the  instrument  is 
impaired.  A  machine  must  always  be  in  perfect 
condition  to  do  good  work.  Children  are  not 
conscious  of  the  intricate  mechanism  of  the  in- 
struments they  use  and  are  often  careless.  The 
instructor  must  make  up  for  their  carelessness  by 
his  own  precaution  and  carefulness  in  frequently 
inspecting  the  instruments.  While  an  instructor 
is  not  supposed  to  do  the  repair  work  on  instru- 
ments, he  should  know  enough  about  each  in- 
strument to  detect  the  cause  of  the  trouble. 
Slides  in  brass  instruments  should  always  be  kept 
loose;  a  little  vaseline  applied  to  them  frequently 
will  prevent  corrosion.  Reed  instruments  should 
always  be  swabbed  out  after  using.  Do  not  use 
the  usual  manufactured  swab,  but  make  a  "pull- 
through."  Get  a  small  lead  weight,  attach  it 
to  a  string  the  length  of  the  clarinet,  and  tie  this 
to  a  piece  of  cheesecloth  that  is  long  enough  and 
thick  enough  to  fill  the  barrel  of  the  clarinet. 
Drop  the  weight  through  the  clarinet  and  draw 
the  cheesecloth-cleaner  through  a  couple  of 
times,  and  the  inside  will  be  dry  and  clean.  If 
put  away  wet,  the  wood  gets  water-soaked,  warps 
and  soon  cracks.  Three-in-one  oil  rubbed  into 
the  wood  and  applied  to  the  keys  will  keep  the 
instrument  in  good  condition.  With  clarinets, 
the  mouthpiece  and  reed  should  always  be  cleaned 
and  dried  after  using.  Boys  are  usually  in  a 


//.I.Y/M'    IX    ELEMENTARY   SCHOOLS  01 

hurry,  and  slam  the  instrument  into  the  case  and 
run.  Enough  time  should  be  allowed  at  the  end 
of  each  rehearsal  to  clean  the  instrument  before 
the  close  of  the  class  period. 


CHAPTER   VIII 

BANDS  IN  THE  HIGH  SCHOOLS  (Illustration  No.  14) 

INSTRUCTION  \Vhat  has  been  said  regarding  the 
elementary  school  bands  applies  as 
well  to  the  high  school.  There  are,  however, 
certain  methods  peculiar  to  high  school  bands 
that  should  be  mentioned. 

BRASSES  Instead  of  the  altos  and  mellophone  it 
is  better  to  use  French  horns,  except  for 
marching,  when  altos  are  preferable.  In  the 
orchestra,  the  horn  parts  are  generally  written  in 
F  and  in  the  band  in  E-flat,  which  necessitates 
using  the  E-flat  crook  for  the  mellophone  (the 
alto  is  built  in  E-flat  and  needs  no  alteration)  or 
transposing  the  part  a  tone  lower  and  keeping  the 
horn  in  F.  The  trombone  section  should  be  com- 
plete with  a  player  each  assigned  to  1st,  2nd  and 
3rd  trombone  parts.  Where  more  players  are 
available,  double  the  second,  then  the  first,  and 
the  third  only  with  six  players.  One  baritone  is 
always  essential  and  if  none  is  owned  by  the  pupils 
the  school  system  should  supply  one,  to  which  a 
cornet  player  may  be  transferred.  The  baritone 
parts  are  always  published  in  both  treble  and  bass 
clef  so  that  such  a  transfer  would  not  entail  the 
immediate  learning  of  a  new  staff  notation.  It 
is  better,  however,  for  every  baritone  and  trom- 
bone player  to  learn  to  read  from  the  bass  clef 
parts.  (The  treble  clef  part  is  transposed  one 
whole  tone  higher,  just  like  the  cornet  parts). 

92 


94  PUBLIC   SCHOOL   ORCHESTRAS   AND   BAM)* 

In  the  high  school  it  is  now  possible  to  use  the 
BB-flat  tuba  for  the  boys  are  large  enough  to  both 
handle  and  fill  the  instrument.  (See  illustration 
No.  14,  3rd  last  row,  left.)  While  a  small-sized 
BB-flat  tuba  can  be  used  in  the  elementary  bands 
it  is  a  rare  occurrence  when  large  boys  are  to  be 
found  in  the  upper  grades.  So  it  is  more  efficient 
to  confine  all  effort  to  the  use  of  the  small-sized 
E-flat  tuba  and  leave  the  big  BB-flat  tuba  for  the 
high  school  band. 

REEDS  AS  the  piccolo  and  E-flat  clarinet  are  both 
small  instruments,  their  natural  place  for 
development  is  in  the  elementary  school,  but  from 
a  musical  standpoint  these  instruments  are  very 
necessary  in  the  high  school  bands.  One  of  eacli 
is  usually  sufficient  to  balance  the  other  parts. 
Most  amateur  bands  have  too  much  brass  to 
blend  well  with  the  reeds.  Were  the  reverse  true, 
the  effect  would  be  much  more  pleasing.  Where 
the  clarinet  and  reeds  are  double  or  even  treble 
the  number  of  the  brass  players,  the  tonal  effect 
produced  more  nearly  resembles  that  of  the 
orchestra.  Unless  the  oboe  and  bassoon  (Illus- 
tration No.  14,  1st  row  and  2nd  row,  left),  are 
supplied  by  the  school  system  they  are  very  sel- 
dom represented  in  the  average  school  band. 
They  are  always  essential,  but  not  indispensable. 
It  is  usually  possible  to  get  the  players  of  these 
instruments  to  double  in  both  band  and  orchestra. 
No  instrument  of  the  band  or  orchestra  has  met 
with  such  universal  adoption  and  popular  approval 
everywhere  as  has  been  accorded  the  saxophone 
in  the  last  few  years.  (Illustration  No.  18 — page 
95) .  "  Dr.  Rogers  considers  the  soprano  saxophone 
to  come  next  in  desirability  for  those  without 


n.ixns  i.\  TIII:  man 


much  lung  power.  To  this  the  author  can  add 
that  he  has  known  of  an  eminent  physician  pre- 
scribing the  use  of  the  saxophone  to  a  patient 
suffering  with  dullness  of  hearing,  as  a  tonic  to 
the  aural  nerves."  (From  Mistakes  and  Disputed 
Points  in  Music  by  Elson).  While  the  soprano, 


Xo.  18 


SAXOPHONE   QUARTET 
From  Technical  High  School  Band 


alto,  tenor,  and  melody  saxophones  are  nicely 
adapted  for  use  in  the  elementary  schools,  the 
baritone,  on  account  of  its  size  and  weight,  is  not 
apt  to  be  serviceable,  except  in  the  high  school. 
A  quartet  of  saxophones  is  always  an  attractive 
combination  to  use  for  concerts.  Moreover,  they 
lend  a  fullness  and  sonorousness  to  a  band  that 
makes  their  absence  thereafter  lamentably  no- 
ticeable. 


96  PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

No  one  feature  in  a  school  will  do  so  much  to 
bring  that  school  into  favor  with  both  the  public 
and  the  student  body,  as  a  good  band.  Where 
the  principal  encourages  such  an  organization  and 
the  proper  kind  of  an  instructor  is  in  charge,  it  is 
neither  difficult  nor  impossible  to  permanently 
maintain  a  good  band  in  any  high  school. 


CHAPTER  IX  ' 

OFFICIAL  MUSICAL  ORGANIZATIONS 

Elementary  Schools'  Band  and  Orchestra 

(See  Illustrations  Nos.  15  and  16) 

As  there  are  frequent  demands  for  public  ap- 
pearance of  the  school  organizations,  it  is  advis- 
able to  have  some  official  organizations,  endorsed 
and  approved  by  the  board  of  education  to  rep- 
resent the  work  of  the  entire  department  instead 
of  one  particular  school.  Such  a  method  elim- 
inates any  display  of  favoritism,  gives  no  cause 
for  jealousy,  and  provides  a  guarantee  that  some 
finished  work  will  always  be  ready  for  public 
presentation.  To  achieve  these  results,  an  or- 
chestra and  band  known  as  the  Elementary 
Schools'  Orchestra  and  Elementary  Schools'  Band 
is  organized  in  Oakland  to  which  all  advanced 
players  from  any  of  the  schools  are  eligible. 
Complete  instrumentation  and  a  well  balanced 
orchestra  and  band  are  the  prime  features.  Only 
those  pupils  who  can  read  well  and  play  well,  who 
have  had  at  least  one  year  of  experience  in  their 
own  school  organizations  are  accepted.  The  va- 
rious instrumental  instructors  usually  recommend 
pupils  for  membership.  If  the  horn,  clarinet,  or 
cornet  sections  are  full,  the  pupils  must  wait 
until  a  vacancy  occurs,  before  they  are  accepted 
to  membership. 

The  instrumentation  of  the  orchestra  this  year 
included  twenty  First  Violins,  fifteen  Second 

97 


o 
o 
M 


-C 

H 


c 

o 

a 
o 


OFFICIAL  MUSICAL  ORGAXIZATIONS  99 

Violins,  one  Viola,  three  'Cellos,  one  String  Bass, 
three  Flutes,  four  Clarinets,  four  Cornets,  four 
Horns,  two  Trombones,  one  Tuba,  three  Drums, 
two  Oboes,  one  Bassoon,  one  Melody  Saxophone. 
This  orchestra  rehearses  once  a  week,  on  Friday 
afternoon,  from  four  until  five  o'clock,  with  an 
average  attendance  of  more  than  forty-five  at 
each  rehearsal.  The  music  studied  is  of  the  semi- 
classical  type  and  the  violin  parts  usually  con- 
fined to  the  first  and  not  much  beyond  the  third 
position.  Observe  that  the  string  section  is 
quite  large,  and  that  the  horn,  clarinet,  cornet, 
and  flute  section  is  always  double  the  usual 
number  employed,  which  provides  for  under- 
studies and  assures  representation  of  all  the  parts 
at  every  rehearsal.  Also  observe  the  scarcity 
of  the  viola,  'cello,  and  string  bass  players  that 
are  available  for  such  an  organization. 

The  Elementary  Schools'  Band  is  organized 
along  the  same  lines  as  the  Orchestra,  rehearsing 
every  Monday  afternoon.  Uniforms  are  pro- 
vided, which  were  paid  for  by  funds  from  concerts 
given  for  that  purpose.  The  instrumentation 
this  year  is  as  follows:  Cornets,  12;  Altos,  6; 
Trombones,  3;  Baritones,  4;  Tubas,  4;  Drums 
4;  Piccolo,  1;  E-flat  Clarinet,  1;  B-flat  Clari- 
nets, 15;  Saxophones,  4.  Overtures,  marches 
and  a  few  popular  medleys  and  patriotic  selec- 
tions are  included  in  the  repertoire  studied  each 
semester. 

Each  of  the  five  high  schools  has  both  a  band 
and  an  orchestra  rehearsing  every  day,  either 
during  school  hours,  before  school,  or  at  noon, 
as  the  program  and  type  of  the  school  will  permit. 
(Illustration  No.  13,  page  49).  Four  of  the  bands 
are  uniformed  and  one  is  an  official  military  cadet 


gjl 

i— i  -s 


«  .? 


fee  a 
o   2 


•s  « 


O 

(V 


OFFICIAL  MUSICAL  ORGA\IZATIO.\S  101 

organization,  trained  for  marching  and  reviews. 
(Illustration  Xo.  14,  page  93).  A  combined  band 
and  a  combined  orchestra  is  used  occasionally, 
composed  of  the  advanced  players  from  all  the 
high  schools  who  have  rehearsed  a  set  program  for 
a  special  public  function  or  concert.  But  as  each 
individual  organization  has  very  good  instrumen- 
tation, it  is  not  often  necessary  or  expedient  to 
combine  the  forces,  as  the  period  for  rehearsal  is 
very  difficult  to  arrange. 

COMMUNITY  ORCHESTRA 

The  following  excerpt  from  a  Report  on  Music 
Instruction  by  the  author,  issued  as  Bulletin 
Number  6,  March,  1917,  by  the  Board  of  Educa- 
tion, Oakland,  California,  gives  a  comprehensive 
outline  of  the  process  of  its  organization,  the 
manner  of  its  support  and  maintenance,  its  ob- 
ject, and  the  results  of  the  experiment. 

THE  COMMUNITY  ORCHESTRA 

"Several  years  ago  an  effort  was  made  to  in- 
terest the  students  of  the  evening  schools  in  the 
organization  of  an  orchestra.  Such  a  plan  had 
met  with  so  hearty  a  response  in  the  day  schools, 
that  it  was  thought  advisable  to  try  the  plan  in  the 
evening  schools.  The  first  announcement  brought 
out  an  attendance  of  six  players — four  violins, 
a  cornet,  and  a  piano.  With  this  nucleus,  pub- 
licity was  given  the  undertaking  and  at  the  end 
of  the  first  year,  there  was  an  enrollment  of 
twenty-five  members  with  an  instrumentation 
that  included  violins,  violas,  'cellos,  string  bass, 
flute,  clarinet,  cornet,  horns,  trombone,  drum, 
and  piano.  As  all  the  instruction  was  given  to 


102        PUBLIC  SCHOOL  ORCHESTRAS   A*7D   BANDS 

the  members  of  the  night  school  orchestra  free, 
all  music  furnished,  and  a  director  of  experience 
assigned  to  the  work,  it  was  not  long  until  the 
enrollment  increased  sufficiently  to  warrant  the 
organization  being  divided  into  a  first  and  second 
orchestra.  When  it  was  decided  to  divide  the 
orchestra,  notices  were  sent  to  all  teachers  of 
instrumental  music  in  Oakland  and  the  adjoining 
cities,  asking  their  co-operation  to  the  extent  of 
announcing  the  rehearsals  of  this  orchestra  to 
their  pupils  and  extending  an  invitation  to  them 
to  attend  the  rehearsals.  It  was  found  that 
there  were  many  advanced  performers  on  orches- 
tral instruments  who  were  not  professionals,  but 
who  were  interested  in  music  because  of  the 
pleasure  they  derived  from  playing.  It  was 
decided  to  name  this  organization  the  *  Com- 
munity Orchestra/  All  advanced  performers 
from  the  district  are  eligible  to  membership  and 
this  year  the  orchestra  has  grown  to  fifty-seven 
members,  has  complete  symphonic  instrumenta- 
tion, and  is  studying  the  easy  symphonies  of  the 
famous  composers.  It  gives  three  concerts  a 
year  to  the  general  public  with  the  idea  of  ac- 
quainting the  public  with  the  best  of  the  classical 
and  semi-classical  music.  The  Board  of  Educa- 
tion has  made  it  possible  to  further  the  interest  in 
such  an  organization  by  assuming  all  the  expense 
of  supplying  a  place  for  rehearsal,  music,  piano, 
light  and  instructor.  The  orchestra  rehearses  once 
a  week  for  two  hours  and  out  of  fifty-seven  en- 
rolled there  has  been  an  average  attendance  of 
forty -five  this  year. 

"Besides  furnishing  musical  activity  to  the 
amateurs  of  the  Bay  district,  the  Community 
Orchestra  is  also  designed  to  give  to  those  pupils 


OFFICIAL  MUSICAL  ORGANIZATIONS,  103 

in  the  high  schools  who  have  received  instruction 
and  who  have  also  been  members  of  the  high 
school  orchestra,  an  opportunity  to  continue 
their  music  and  thus  retain  the  benefits  of  the 
instruction  they  have  already  received.  It  also 
increases  the  interest  in  music  of  the  community 
itself  by  continuing  some  musical  activity,  such 
as,  membership  in  an  interesting  musical  organ- 
ization which  the  School  Department  itself  can 
control,  both  in  selection  of  the  music  and  in  the 
general  plan  of  the  instruction  and  training  that 
shall  be  given.  By  this  means,  the  membership 
of  the  orchestra  is  increased  and  the  graduating 
pupils  are  immediately  enrolled  in  an  organiza- 
tion of  adults  which  has  as  its  main  feature  the 
furtherance  of  good  music  in  the  community. 

"As  the  evening  school  became  more  popular 
and  other  buildings  were  opened  for  evening 
classes,  instruction  was  offered  in  two  other 
evening  schools.  The  orchestra  in  the  Central 
Evening  School  rehearses  from  7.15  to  8.15  and 
individual  instruction  upon  any  of  the  instru- 
ments is  continued  until  10.15.  The  enrollment 
this  year  has  necessitated  the  instructor's  devoting 
two  evenings  a  week  to  the  teaching.  The  Tech- 
nical High  Evening  School,  which  was  opened  in 
August,  has  forty-eight  pupils  enrolled  in  its 
orchestra.' 


CHAPTER  X 

NECESSITY  OF  SUPPLYING  INSTRUMENTS 

So  many  references  have  already  been  made  to 
this  subject  that  it  may  seem  superfluous  to  repeat 
them.  Many  progressive  school  systems  are  will- 
ing -to  have  bands  and  orchestras  organized  and 
some  few  have  employed  even  special  teachers  to 
develop  the  work,  but  rare,  indeed,  are  the  cities 
that  have  given  whole-hearted  support  to  the 
extent  of  spending  money  with  which  to  buy  instru- 
ments. 

American  boys  and  girls,  encouraged  and  guided 
by  their  parents,  persist  in  clinging  resolutely  to 
the  same  favorite  solo  instruments.  As  far  as 
the  parents  are  concerned,  the  law  of  supply  and 
demand  evidently  does  not  operate.  The  solo 
instruments  predominate  at  every  turn.  It  be- 
comes a  matter  of  educating  the  parents  through 
the  children. 

If  the  desired  instrument  is  available  it  is  not 
difficult  to  get  the  player.  When  the  student 
finally  convinces  the  parent  that  he  wants  his  own 
instrument,  the  chapter  is  concluded.  Since  this 
is  the  outcome  in  a  large  percentage  of  cases,  it 
stands  to  reason  that  the  only  way  to  create  an 
appreciation  for  the  unusual  instrument  among 
the  American  people  is  to  educate  its  young  people 
through  the  only  legitimate  education  channel, 
the  public  schools. 

Why  are  the  American  symphony  orchestras 
filled  with  foreign  players?  Because  the  Am- 

104 


SUPPLYING   INSTRUMENTS  105 

erican  boy  has  not  had  an  equal  opportunity  of 
acquiring  a  musical  education.  Why  are  the 
American  symphony  orchestras  among  the  best 
in  the  world?  Because  foreign  players  have  been 
imported  who  can  play  the  unusual  instruments. 

If,  as  a  nation,  America  supports  and  patron- 
izes the  best  orchestral  music,  when  will  she  be- 
come an  acknowledged  musical  nation?  Not 
until  a  plan  for  wholesale  education  in  music  is 
established  in  the  schools  of  the  country,  which 
are  the  shortest  and  quickest  avenues  of  approach 
to  the  parents  and  the  public  at  large.  America 
spends  annually  about  $600,000,000  for  music  in 
various  forms,  but  she  is  still  a  mechanical  en- 
thusiast, preferring  machine-made  music  to  hand- 
made. 

The  individual  must  be  made  musical  by  being 
educated  to  make  music  for  himself.  His  appre- 
ciation of  things  musical  is  much  more  keen  if  he 
knows  "something  of"  the  "process  of  the  mak- 
ing" and  bases  his  judgment  on  personal  experience 
rather  than  on  the  opinions  of  music  critics. 
Educate  the  boy  while  he  is  young,  and  he  soon 
discovers  his  own  liking  for  more  music  and  seeks 
special  training.  Let  the  schools  assume  the 
responsibility  of  giving  him  his  first  musical  in- 
centive, and  be  sure  that  the  music  he  studies  and 
the  training  he  receives  is  choice  enough  to  stim- 
ulate to  further  effort. 

The  instruments  needed  to  fill  out  the  average 
elementary  orchestra  are  two  mellophones,  a 
'cello,  and  a  tuba.  The  string  bass  part  must  be 
re-\vritten  in  the  range  of  the  tuba.  The  mello- 
phone  built  in  F  can  be  employed  in  the  band,  by 
utilizing  the  E-flat  shank,  thus  serving  a  double 
purpose.  These  are  the  usual  instruments  needed 


106       PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

to  augment  the  solo  instruments  which  the  pupils 
already  own. 

Two  mellophones,  at  $75.00  each,  equal  $150.00. 
One  'cello  at  $50.00,  one  tuba  at  $100.00,  make 
$300.00  as  a  very  liberal  estimate  of  the  cost. 

In  the  high  schools,  the  instruments  usually 
needed  will  be  two  violas,  at  $20.00,  equals  $40.00; 
two  'cellos  at  $50.00,  equals  $100.00;  two  string 
basses  at  $75.00,  equals  $150.00;  two  horns  at 
$80.00,  equals  $160.00;  one  oboe,  $60;  one  bas- 
soon, $100.00;  1  bass  drum  $15.00,  totaling 
$650.00. 

SCHOOL  SYSTEM  SHOULD  SUPPLY  THE  UNUSUAL 
INSTRUMENTS 

In  the  cost  of  other  school  equipment,  the  pupils 
do  not  furnish  even  a  small  part  of  it.  In  the  or- 
chestra and  band,  however,  the  parents,  at  their 
own  personal  expense,  furnish  the  pupils  with  at 
least  two-thirds  of  the  instrumental  equipment 
that  is  used.  Is  it  unreasonable  then  to  ask  that 
the  school  system  should  furnish  one-third  of  the 
equipment  necessary  to  make  a  fairly  good  band 
and  orchestra  for  the  music  department,  when 
they  never  question  the  advisability  of  furnishing 
the  entire  equipment  for  almost  any  other  depart- 
ment whose  budget  runs  into  thousands  of  dol- 
lars? 

Five  years  ago,  a  questionnaire  was  sent  to 
every  school  in  Oakland,  elementary  and  high, 
asking  that  information  be  gathered  as  to  how 
many  of  the  pupils  owned  instruments  (piano 
excepted),  the  kind,  and  the  cost.  The  total 
report  exceeded  $14,000  worth  of  instruments, 
owned  by  the  pupils,  supplied  and  loaned  to  the 


SUPPLYING   INSTRUMENTS  107 

school  department  by  the  parents.  Later,  the 
Board  of  Education  appropriated  $5,000  to  supply 
the  unusual  instruments  needed  in  addition  to 
those  owned  by  the  pupils.  Should  a  similar  test 
be  given  in  other  cities  or  even  in  one  high  school, 
the  average  will  show  that  the  parents  furnish 
twro-thirds  of  the  equipment.  What  will  the 
Board  of  Education  do?  They  are  reasonable 
people  and  they  need  only  to  be  convinced.  Can- 
vass your  school.  Get  the  number,  kind,  and 
cost  of  all  instruments  owned  by  the  pupils,  that 
can  be  used  in  the  orchestra  or  band.  Ascertain, 
also,  the  cost  of  the  equipment  and  the  disburse- 
ment for  the  manual  training  or  domestic  art  de- 
partment in  the  school  or  in  the  city.  Show  the 
Board  of  Education  how  much  these  departments 
cost  and  that  the  parents  furnish  nothing,  and  the 
school  system  supplies  everything.  Then  show 
the  number  and  cost  of  instruments  that  the 
parents  furnish  and  supply  for  the  music  depart- 
ment. Finally,  ascertain  the  amount  of  the  ex- 
penditure that  the  Board  of  Education  has  made 
for  the  music  department  to  show  its  appreciation 
of  the  assistance  the  parents  have  given  to  further 
the  interest  in  music  in  the  school. 


CHAPTER   XI 

CONDUCTING 

To  be  able  to  conduct  a  chorus,  band,  or  or- 
chestra is  an  art  which  can  be  acquired  by  study 
and  practice. 

While  each  particular  phase  of  conducting 
demands  special  qualification  on  the  part  of  the 
leader,  the  fundamental  principle  underlying  all 
conducting  or  directing  is  virtually  the  same. 

Conducting  is  the  physical  expression  of  an 
intellectual  conception  of  a  composition,  that 
those  performing  may  be  guided  effectively  in 
tempo,  rhythm,  tone  and  interpretation. 

As  most  of  the  expression  of  temperament  is  a 
physical  expression,  it  is  well  to  cultivate  as  grace- 
ful a  manner  as  the  individual  can  acquire. 

Conducting  is  a  language  of  signs.  Practise 
before  the  mirror  to  be  sure  that  your  signs  are 
as  graceful  as  you  can  make  them. 

Train  the  right  arm  to  beat  time.  Keep  the  left 
arm  quiet  until  you  need  its  assistance  in  com- 
plicated passages,  to  give  cues,  or  to  indicate 
shading  and  expression. 

Learn  to  beat  time  correctly;  practise  it  until 
it  becomes  a  habit.  Beating  any  kind  of  measure 
should  become  so  automatic  that  nothing  will 
break  or  destroy  its  metronomic  regularity  until 
you  will  to  make  a  change. 

If  you  cannot  carry  on  a  short  conversation, 
answer  questions,  turn  pages,  think  of  many  things 

108 


CONDUCTING  109 

pertaining  to  your  rehearsal  and  yet  never  lose 
a  beat,  you  still  have  something  to  learn. 

A  light  holly  stick  about  eighteen  inches  long 
makes  a  thoroughly  satisfactory  baton. 

Take  the  baton  between  the  thumb,  the  first 
and  second  fingers,  guarded  by  the  third  and 
fourth  fingers,  allowing  the  heavy  end  to  extend 
a  little  beyond  the  hand  with  the  palm  down  and 
the  back  of  the  hand  up,  parallel  with  the  floor. 
The  control  of  the  stick  is  governed  by  the  thumb 
and  first  two  fingers.  Such  control  will  permit 
of  four  kinds  of  motion: 

(1)  A  small  beat,  made  mostly  by  the  fingers. 

(2)  A  slightly  increased  beat,  using  fingers  and 
wrist. 

(3)  A  fuller  beat,  employing  the  forearm,  when 
the  fingers  and  wrist  are  used  but  slightly. 

(4)  The   full   arm-swing   for    heavy    passages, 
when   fingers,   wrist,   and  forearm    function    but 
little. 

How  TO  BEAT  TIME 

The  most  difficult  beat  to  learn  is  the  cue  beat 
which  starts  the  musicians  playing.  The  cue 
beat  is  usually  an  up  beat  like  the  raising  of  a 
hammer  to  strike  a  blow.  The  blow  is  the  down 
beat  which  corresponds  to  the  first  beat  of  the 
measure.  The  mastery  of  these  two  beats  gives 
the  conductor  one  point  of  command. 

X  Cue 


Dovm 

Hold   the   right   hand   in   repose    high   enough 
above   the   head   to   be   seen   by   all   performers, 


110        PUBLIC  SCHOOL   ORCHESTRAS   A\D   BA\DS 

swing  it  toward  the  center  line  of  the  body  and 
then  down. 

The  cue  beat  is  used  only  as  a  starter.  If  the 
words  Ready!  Play!  could  be  substituted  for 
motions,  Ready!  would  correspond  to  the  cue 
beat  and  Play!  to  the  down  beat. 

In  f,  §  and  fast  g  measure  the  beat  is 
down,  up,  starting  with  the  cue  beat: — 


Down 


or 


Down 


Practise  this  diagram  on  a  blackboard  making 
the  full  length  of  the  beat  about  eighteen  inches. 

In  |,  f,  and  §  measure  the  beat  starts  with 
the  cue  beat,  then  down,  right,  up: — 


The  last  beat  of  the  measure  always  corresponds 
to  the  cue  beat  in  direction  and  precedes  the 
down,  or  first,  beat  of  each  measure.  A  question 
may  arise  as  to  the  reason  for  making  the  second 
beat  to  the  right  instead  of  the  left. 

As  the  down  is  the  first  and  the  last  is  an  up 
beat  it  is  impossible  to  go  any  other  way  than  to 
the  right.  Any  other  manner  of  beating  J 
measure  is  wrong. 

"In  j  rhythm,  for  example,  if  very  slow, 
or  very  complicated,  three  beats  may  be  given 
to  each  measure,  but  down,  right,  up  (not  down, 
left,  up),  as  this  takes  the  baton  away  from  the 


CONDUCTING 


111 


body  in  the  second  beat,  and  is  therefore,  more 
easily  followed  by  the  musicians."  —From  Mis- 
takes and  Disputed  Points  in  Music,  by  Louis  C. 
Elson;  page  43). 

In    | ,    t    and    ^    measure   the  beats   are  :— 
Start  with  the   cue  beat;   then  down,   left,  right, 
and  up  :— 


The  last  two  beats  will  be  found  to  correspond 
exactly  with  the  last  two  beats  of  the  f  measure, 
proving  that  inasmuch  as  the  last  beat  must  be 
up  the  second  can  only  move  to  the  left  and  the 
third  to  the  right,  to  be  in  position  for  the  fourth 
or  up  beat.. 

In  slow  §  measure,  six  distinct  beats  must  be 
made: — As  down,  I,  I, — r,  r,  up.  Start  with  the 
cue  beat : — 


This  is  the  hardest  kind  of  measure  to  learn  to 
beat  with  unerring  accuracy. 

Practise  with  each  diagram  on  a  blackboard, 
making  a  figure  similar  to  the  diagram,  eighteen 
inches  down  and  about  eighteen  inches  across. 

Careful  study  of  all  of  the  diagrams  will  show 
a  corresponding  similarity  of  direction  and  posi- 
tion of  the  first  and  last  beats,  emphasizing  the 
cue  or  last  beat,  and  the  first  or  down  beat; 


112 


PUBLIC  SCHOOL   ORCHESTRAS   AND   BANDS 


covering  the  same  track  in  general  as  the  £ 
measure,  down  or  up  with  three  subdivisions  to 
each  beat.  Remember  always  that  §  measure 
is  two-part  measure,  with  three  subdivisions  to 
each  beat,  and  not  three  parts  with  two  divisions. 
Fast  §  is  always  beat  like  two-part  measure, 
down  and  up. 

In   slow  $   measure,  nine   distinct   beats  must 
be  made.     Start  with  the  cue  beat: — 


Covering  the  same  track  in  general  as  the  f , 
beat  down,  right,  up,  with  three  subdivisions  of 
each  beat. 

In  ^  measure,  12  distinct  beats  must  be 
made,  tracing  the  track  of  |  measure  down,  left, 
right,  up,  with  three  subdivisions  to  each  beat. 


While  }  measure  is  very  rare  and  little  demand 
is  made  of  the  amateur  to  beat  this  unusual 
measure  it  is  well  worth  knowing.  The  Tchai- 
kovsky Symphonic  Pathetique,  2nd  movement, 
Allegro  Con  Moto,  is  written  in  f  measure  and  is 
not  only  a  fine  example  to  study,  but  is  a  beautiful 
use  of  this  rather  peculiar  and  fascinating  rhythm. 


CONDUCTING  113 

It  is  a  compound  of  £  and  J  and  requires  the 
alternating  use  of  both  beats.  As  down,  up,  down, 
right,  up. 


The  primary  accent  is  the  down  in  the  £  and 
the  secondary  is  the  less  important  down  of  the 
f ,  with  the  strong  accent  again  recurring  on  the 
return  to  the  1st  beat  of  the  next  (2nd)  mea- 
sure. 

Practice  Makes  Perfect — Practise  all  these  dia- 
grams until  they  become  automatic.  Then  prac- 
tise four  measures  of  £ ;  then  four  of  f ;  four  of 
| ;  four  of  slow  § ;  four  of  f ;  four  of  f  ;  four  of  ^, 
etc.,  mixing  up  the  measures  until  you  have  perfect 
command  of  all  the  motions. 

After  you  have  learned  how  to  beat  all  the 
different  measures  correctly,  you  will  find  that 
you  can  still  be  easily  confused  when  conducting 
a  rehearsal. 

Even  in  the  moment  of  the  most  trying  dis- 
tractions, you  must  never  lose  your  sense  of 
rhythm  and  the  down  beat.  Until  you  can  keep 
time  in  any  of  the  measures  previously  given,  at 
different  rates  of  tempo  and  not  lose  the  beat, 
you  still  need  practice  before  you  become  a  perfect 
time-keeping  machine. 

In  using  the  metronome  for  study,  set  the 
weight  at  the  number  indicated  to  get  the  speed 
of  the  rhythm  desired.  Listen  to  the  tick  for 
about  eight  measures  and  then  stop  the  clock. 


114        PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

It  should  never  be  used  continuously.  Use  it 
only  to  suggest  the  required  speed  of  the  different 
movements. 

The  metronome  gives  the  following  marks  on  its 
dial : — 

Largo  from                40  to    70 

Larghetto  70  to    98 

Adagio  100  to  124 

Andante  126  to  152 

Allegro  154  to  178 

Presto  184  to  208 

Notice  that  Moderate,  one  of  the  most  fre- 
quent of  tempo  marks,  is  omitted.  While  these 
marks  may  be  correct  they  are  by  no  means 
obligatory. 

Use  good  judgment  at  all  times.  All  music 
suggests  its  natural  tempo,  first,  by  the  general  mark 
indicating  its  speed;  and  second  by  the  way  it  sounds. 
If  the  tempo  sounds  hurried  and  blurred,  slow 
up.  If  it  seems  to  lack  life  and  motion,  try  it  a 
little  quicker,  and  then  fix  in  your  mind  the 
satisfactory  tempo  and  stick  to  it.  Don't  start 
too  fast  and  then  try  to  slow  up,  nor  too  slowly 
and  have  to  increase  the  speed  until  you  arrive 
at  the  tempo  you  desire.  Play  a  movement  over 
in  your  mind  until  you  are  confident  of  the  correct 
speed,  then  make  your  beat  indicate  correctly 
the  speed  you  desire,  and  your  players  will  follow 
you.  You  must  know  what  you  want,  and  your 
players  will  respond. 

The  most  important  beats  to  be  learned  are 
the  f,  f ,  |  and  §  as  they  form  the  four  prin- 
cipal rhythms  upon  which  most  movements  of 
usable  music  for  school  purposes  are  based. 


CONDUCTING  115 

Next  come  the  compound  rhythms,  J  and  12. 

Careful  study  should  be  made  of  the  three  im- 
portant tempos,  Andante,  .Moderate,  and  Allegro. 
These  terms  are  used  to  indicate  the  largest 
percentage  of  tempos.  Other  modifications  of 
these  tempos  are  indicated  by  being  combined 
with  these  principal  terms,  as: — Andante  con  Moto, 
Modcrato  con  Grazia,  Allegro  non  Troppo. 

Generally  speaking,  the  speed  from  Andante 
through  Moderato  to  Allegro  doubles  twice  e.  g. 
—Andante,  one  sound  to  the  beat,  slowly  (quarter- 
notes)  ;  double  the  speed  Modcrato  two  sounds  to 
the  beat  (eighth-notes) ;  and  then  double  again  to 
Allegro  (four  sounds  or  sixteenth-notes). 

This  plan  is  suggested  as  one  way  of  acquiring 
some  control  of  tempo  and  it  should  be  practiced, 
using  4  measure  f ,  |  and  §.  In  the  latter, 
when  it  doubles  to  Moderato,  and  then  to  Allegro, 
the  beat  broadens  into  two  beats  instead  of  the 
six  which  is  used  only  in  slow  movements. 

Remember  that  the  type  of  composition  that  is 
to  be  played  regulates  the  speed.  No  two  An- 
dantes awaken  exactly  the  same  rhythmic  feeling. 
Every  composition,  from  a  hymn  to  a  symphony, 
has  its  own  life  tempo.  It  becomes  the  duty 
of  the  instructor  or  the  conductor  to  find  that 
life  tempo.  Slow  movement  must  not  drag;  fast 
movement  must  not  be  played  so  fast  that 
distinct  articulation  cannot  be  given  to  every 
tone. 

Children  in  elementary  schools  and  pupils  of 
the  high  schools  rarely  have  the  same  fluency  of 
technique  as  adults.  So  an  Allegro  movement 
played  by  amateurs  requires  consideration  of  this 
fact. 


116         PUBLIC   SCHOOL   ORCHESTRAS   A\D    BAXDS 

Josef  Hoffman,  the  celebrated  pianist,  in  giving 
suggestions  about  practice  advised,  "The  student 
should  play  a  slow  movement  faster  than  indicated, 
to  avoid  the  habit  of  dragging;  and  play  a  fast 
movement  slowly,  to  overcome  rushing." 

Such  practice  establishes  a  control  of  tempo 
which  is  one  of  the  most  essential  requisites  de- 
manded of  a  conductor, — such  control  can  be 
mastered  by  practice,  and  no  one  should  attempt 
to  lead  any  group,  be  it  chorus,  orchestra,  or 
band,  who  has  not  acquired  a  strong  feeling  for 
rhythm  and  tempo. 

The  pause  ^  or  fermata  may  occur  on  any  beat 
of  the  measure.  Try  not  to  alter  the  direction  of 
your  beat  in  order  to  make  a  hold.  If  a  pause 
comes  on  the  second  beat  in  f  measure,  make 
your  beat  to  the  left  and  hold  at  the  end  of  the 
beat,  then  resume  the  third  and  fourth  beat  at 
the  original  tempo,  which  is  usually  indicated 
a  tempo.  Here  most  amateurs  fail.  It  is  always 
safe  to  resume  the  original  tempo  after  a  pause  or 
a  ritard.  o 

If  a  hold  is  made  on  a  dotted  half-note  J  in  a 
|  measure,  beat  out  the  three  beats  in  strict  time 
and  hold  the  last  beat  for  the  effect  of  the  pause. 
A  common  fault  is  the  releasing  of  the  hold  too 
soon.  A  hold  is  made  for  effect.  The  effect  is 
the  result  obtained  by  hearing  the  full  chord 
sounded  by  all,  and  until  that  effect  is  produced 
and  heard,  the  hold  cannot  be  released. 

To  acquire  facility  and  poise  in  beating  strict 
time  is  not  difficult  after  one  has  had  some  prac- 
tice, but  it  requires  assurance  and  considerable 
experience  to  make  a  good  ritard.  A  ritard  is 
the  lessening  of  the  speed  toward: — (1)  a  chord 


CONDUCTING  117 

of  harmonic  importance,  (2) — a  pause,  or  (3) 
a  phrase  which  demands  a  slower  movement  for 
an  artistic  effect. 

It  is  usually  customary  to  beat  the  strict  beat 
of  the  movement  making  the  ritard  in  the  measure 
indicated. 

In  other  instances,  it  may  be  necessary  to  indi- 
cate the  subdivisions  of  the  beat — (as  in  a  four- 
quarter  measure — requiring  a  ritard  on  the  first 
Ht  ^  and  second  beats  with  a  hold  on 
4  j  j  j  j  j  j  [I  the  third  beat).  Divide  the  first 
and  second  beats  and  hold  the 
third  beat  resuming  a  tempo  on  the  fourth  beat. 


Ritard  should  be  used  sparingly  and  only  where 
indicated.  When  a  ritard  is  well  done,  it  is  very 
effective.  Patient  practice  and  assurance  will 
make  all  the  players  respond  at  the  same  time,  if 
the  beat  is  distinctly  given. 


JJJJ    IJJJJIJJJJ 

As  an  exercise,  count  out  loud  for  four  f  measures, 
making  a  ritard  as  suggested  above  in  the  fourth 
measure,  and  repeat  four  or  five  times. 

In  studying  a  composition  in  which  ritards 
occur,  practise  approaching  the  ritard  in  tempo, 
make  the  ritard  and  then  resume  the  tempo  of 
the  movements. 

Always  adhere  to  the  beats  indicated  in  the 
signature  for  the  player  must  count  his  own  time 


118        PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

and  his  count  must  coincide  with  the  leader's  beat. 
Waltz  time  or  fast  J  is  usually  taken  at  one 
beat  to  the  measure,  and  that  beat  is  a  down  beat. 

Alia  Breve  (|  at  half  time),  or  $  with  a  line, 
or  §  is  beat  with  two  beats;  it  is  customary  in 
most  marches  to  use  half  time.  If  it  is  written 
in  |  time,  always  tell  the  players  of  the  change  in 
the  count,  if  you  beat  two,  instead  of  four  beats 
to  the  measure. 

When  a  full  measure  of  rest  is  indicated,  beat 
the  full  measure  using  a  very  small  beat.  In  the 
Raymond  Overture  by  Thomas  (discussed  later), 
two  measures  of  rest  are  indicated.  Beat  down, 
up,  down,  up,  and  the  second  up-beat  becomes 
the  cue  beat  to  start  the  next  measure  and  should 
be  more  pronounced,  as  it  is  an  important  beat. 

In  the  Pique  Dame  Overture  by  Suppe — the 
first  measure  has  a  half  rest,  the  music  starting 
on  the  third  beat;  beat  one,  and  make  the  second 
beat  the  cue  to  start  on  the  third  beat. 

The  Star-Spangled  Banner  begins  on  the  third  or 
up-beat.  Use  the  second  beat  as  the  cue  beat, 
swinging  the  arm  from  the  center  to  the  right  to 
take  up  the  third  beat. 


In  leading  amateur  organizations,  it  is  often 
advisable  to  set  the  rhythm  and  tempo  by  count- 
ing a  measure  in  advance  to  secure  a  good  attack, 
as :  one !  two !  giving  the  cue  beat  on  two  to  play 
on  one,  of  the  opening  measure. 

While  such  a  procedure  would  not  be  necessary 


CONDUCTING  119 

for  an  adult  or  professional  organization,  in  work- 
ing with  amateurs  it  is  permissible  to  do  anything 
that  is  legitimate  to  secure  "safety  first"  results. 
Every  device  that  will  make  your  intentions 
clearer  to  the  players,  that  will  assist  them  to 
present  a  performance  devoid  of  errors,  confusion, 
and  audible  differences  is  a  legitimate  device,  if 
it  accomplishes  its  results  and  at  the  same  time 
avoids  unsightly  methods  of  achieving  them. 

In  performing  an  overture  or  selection  which 
contains  three  or  four  different  movements  in 
various  kinds  of  measure,  do  not  swing  into  the 
next  movement  too  soon.  Pause  long  enough,  to 
let  the  auditors,  as  well  as  the  players,  sense  the 
end  of  that  movement.  It  also  permits  the  players 
to  have  time  enough  to  think  the  rhythm  of  the 
next  movement  before  they  launch  upon  it.  If 
the  last  chord  of  one  movement  becomes  the  be- 
ginning chord  of  the  next  movement,  rehearse  the 
passage  often  enough  to  establish  a  distinct  feeling 
for  the  two  different  rhythms  and  secure  a  smooth 
transition  from  one  movement  to  the  next,  avoid- 
ing both  a  perceptible  and  audible  break. 

In  rehearsing  an  overture  or  a  long  selection 
(if  it  is  not  already  indicated),  it  is  advisable  to 
mark  certain  places,  with  "cue  letters,"  which 
will  aid  in  stipulating  "where  to  begin  and  how  far 
to  go."  Some  publishers  have  these  cue  letters 
already  indicated,  but  many  compositions  have 
long  movements  that  need  special  practice  on 
certain  difficult  phrases,  which  necessitate  playing 
the  entire  movement  through  many  times,  or 
dividing  it  up  into  small  sections  by  means  of  the 
cue  letters,  which  afford  ease  in  finding  the  correct 
place  to  start. 

Most  movements  are  made  up  of  eight  or  six- 


120        PUBLIC  SCHOOL  ORCHESTRAS   AND   BANDS 

teen  measure  phrases.  Some  are  longer,  but  a  cue 
letter  placed  at  the  end  of  every  sixteen  measures 
would  be  sufficient  for  practical  purposes. 

Supposing  the  movement  consists  of  two  hun- 
dred and  fifty-six  measures.  No  letter  is  needed 
for  the  first  sixteen  bars.  So  place  the  letter  A 
above  the  bar  of  the  seventeenth  measure  and 
B  over  the  thirty-third,  C  over  the  forty-ninth, 
and  proceed  to  the  end  using  the  letters  as  far  as 
0  which  will  be  the  cue  letter  for  the  last  sixteen 
bars. 

Sometimes  the  movements  are  short  and  change 
frequently  enough  to  omit  the  cue  letters. 

Go  through  the  first  violin,  solo  cornet,  or  piano 
part  of  the  entire  composition,  carefully,  making 
a  check  mark  at  the  beginning  of  each  musical 
phrase.  Inspect  the  parts  of  all  the  other  instru- 
ments to  see  how  they  compare.  With  these 
marks  as  a  basis,  place  the  cue  letter  where  your 
check  mark  occurred,  being  sure  to  count  the 
measures  intervening  between  each  letter  so  that 
you  can  transcribe  the  cue  letters  to  the  other 
parts  correctly. 

STUDIES  FOR  BAND  AND  ORCHESTRA 

Take  as  a  study,  The  Sunny  South  by  J.  Bode- 
walt  Lampe,  published  for  Band  by  Jerome  H. 
Remick,  Detroit. 

First  Andante  moderate  (J  =  66  to  72)  is  good 
tempo.  Beat  strict  time  to  measure  twelve; 
slacken  beat  where  bar  has  Rallentando  returning 
to  Solo  which  is  played  at  a  little  less  speed  than 
first  tempo.  Hold  last  chord,  measure  sixteen, 
beating  two  full  beats,  finishing  with  the  third 
beat  which  is  given  a  slight  "whip-stroke"  at  the 


CONDUCTING  121 

end,  as  a  signal  to  stop  together.  Make  a  little 
pause  before  going  into  the  Allegro  moderate  which 
is  taken  at  (J^i2o).  Keep  strict  f  all  the  way 
through.  This  movement  begins  on  the  up  beat 
so  the  cue  beat  is  just  enough  movement  of  the 
hand  to  get  into  position  for  the  up  beat:— 


Down 


Notice  the  effect  of  the  dynamic  difference 
between  ff  and  /,  also  the  pause  over  the  rest 
in  the  last  (thirty-second)  measure  which  allows 
time  to  turn  the  page. 

Andante  —  at  (J  .  so)  .  Keep  strict  time  —  after 
pause  in  measure  six  —  return  to  A  Tempo— 
same  again  in  measure  fourteen  —  after  this  second 
pause,  allow  a  little  flexibility  in  the  speed,  and 
observe  that  the  end  of  the  present  Andante  which 
should  be  measure  sixteen  becomes  the  first  beat 
of  the  first  measure  of  the  next  Allegro. 

Such  a  change  of  tempo  is  apt  to  go  too  fast  at 
first  and  have  to  be  slowed  down.  (J  =  tos  to  its)  is 
fast  enough,  for  such  a  movement  depends  upon 
the  clarity  of  its  execution  for  its  effectiveness. 
The  second  ending  is  what  is  known  as  the  "  break  " 
in  a  "hoe  down"  dance,  and  requires  a  "trick 
beat"  to  look  well,  and  to  make  the  two  final 
chords  stand  out  distinctly. 

If  we  count  the  two  measures  as  —  one!   two!— 
one!   and  two!,  beat  the  first  measure,  down,  up, 
as  customary,  and  in  the  second  measure  omit 
the   first  or  down  beat,   concentrating    the    two 
beats  on  and  and  on  two,  which  makes  two  short 


122        PUBLIC   SCHOOL   ORCHESTRAS    AND    BAXDS 


quick  beats  out  to  the  right  and  back  instead  of 
down  and  up. 


Down 


V, 


tBack 


1 


Practise  counting  out  loud  and  repeat  "six- 
teen" times.  Such  "trick  beats"  are  easily  ac- 
quired and  are  legitimate  to  substitute  for  the 
regular  beats. 

Next  Andante  at  (J,9e)  followed  twro  measures 
later  by  (Jsso).  This  makes  a  Rallentando  from 
the  previous  Allegro  to  the  present  Andante  and 
is  very  effective.  Measure  nineteen  in  this  move- 
ment is  a  connecting  measure  serving  as  an  intro- 
duction to  the  next  Allegro,  and  as  the  present 
movement  is  £  measure  at  (Jsso)  and  the  next 
Allegro  is  5* Jams),  the  time  almost  doubles. 

Measures  nineteen,  twenty,  twenty-one  and 
twenty -two  of  this  Allegro  serve  as  an  intro- 
duction to  the  next  Adagio.  Observe  the  Ritard 
and  the  Lento. 

The  Ritard  does  not  affect  measure  nineteen, 
but  extends  through  the  three  measures  following, 
each  one  slower  than  the  preceding  measure. 

Beat  two  strict  beats  for  each  measure,  getting 
slower  with  each  measure  until  measure  22.  The 
Basses  take  this  solo.  The  effect  of  the  Ritard 
in  the  three  previous  measures  makes  the  first  two 
eighth-notes  very  slow.  Give  a  beat  to  each  as 
if  they  were  two  quarter-notes.  To  the  next  four 
sixteenth-notes,  give  one  beat  each,  as  if  they  were 
quarter-notes  in  }  Adagio  which  follows. 


CONDUCTING  123 

Here  is  an  instance  where  the  actual  appearance 
of  the  note  values  gives  way  to  the  slow  speed  and 
demands  special  treatment  to  make  it  effective. 

Adagio  at  (J:6o)  is  a  slow  swinging  beat. 
While  it  is  proper  to  beat  only  four  beats  as  indi- 
cated (o,  common  time  or  |  measure),  it  would 
not  be  incorrect  to  beat  it  as  f  measure  on  account 
of  the  slow  tempo,  which  would  make  two  four 
beat  measures  in  each  measure,  giving  one  beat 
for  each  eighth  note.  It  is  better,  however,  to 
continue  with  the  four  beats.  Again  notice  the 
pause  ^  at  the  end  of  this  movement. 

The  next  Allegro  at  (Jei2o)>  keep  strict  time 
and  spirited,  but  not  too  fast,  up  to  the  Allegro 
Maestoso. 

Here  arises  a  very  important  instance  where 
The  Star-Spanghd  Banner  is  included  in  a  medley. 

This  piece  should  never  be  played  except  as  a 
separate  number.  When  it  is  included  in  a  med- 
ley or  in  any  piece,  in  any  way,  it  is  always  legiti- 
mate to  eliminate  it.  This  necessitates  marking 
it  out  in  all  the  parts.  To  do  this  use  the  "cut" 
mark.  Place  the  Coda-sign  <j>  at  the  end  of  the 
last  measure  of  this  present  Allegro  and  another 
one  at  the  beginning  of  the  last  Allegro  and  draw 
a  line  (with  a  red  pencil),  from  the  first  Coda-mark, 
through  the  Allegro  maestoso  (Star-Spangled  Ban- 
ner] to  the  second  Coda-mark  at  the  beginning  of 
the  last  Allegro. 

When  playing,  just  continue  strict  time  without 
a  break  into  the  last  movement.  On  the  last 
chord  (measure  nine),  beat  two  beats  for  this 
measure  and  hold  the  first  bar  of  measure  ten 
until  the  chord  is  sounding  full,  then  make  the 


124        PUBLIC   SCHOOL   ORCHESTRAS    AND    BANDS 

ending-beat  form  the  point  of  rest  like  the  shape 
of  a  large  comma. 


Gloriana  Overture,  by  A.  J.  Weidt,  published  by 
Walter  Jacobs,  Boston,  is  a  good  study  for  an 
elementary  orchestra. 

f  Andante,  (J.:?2  .  Use  long  swinging  beat. 
Keep  strict  time  to  measure  fifteen.  Divide  the 
first  and  second  beats  which  makes  an  easy 
Ralkntando  into  the  pause  in  the  third  beat. 


The  next  movement  L'istesso  tempo  (the  same 
time)  is  in  $  measure  and  the  last  movement  was 
in  f  measure.  §  measure  is  three-part  measure 
with  three-eighth  notes  to  the  beat  and  the  hand 
beat  remains  just  the  same,  three  swinging  beats 
with  (Js723  to  one  beat.  In  measures  ten,  eleven, 
twelve  and  thirteen  cue  in  with  the  left  hand  the 
instruments  taking  the  counter  melody.  In  meas- 
ure fifteen,  to  make  a  good  Ritard,  subdivide  the 
third  beat  in  measure  sixteen,  beat  the  first  as 
one  beat,  subdivide  the  second,  and  pause  on  the 
third,  ready  for  the  next  Allegretto.  Notice  that  the 
small  beat  which  must  be  used  for  the  last  eighth- 
note,  serves  as  a  cue  beat  for  the  attack  on  the 
next  movement. 


CONDUCTING  125 

4  Allegretto,  <J -  t08).  At  measure  twenty-three, 
change  of  key,  use  the  cue  letter  A.  Cue  in  the 
clarinet  playing  the  melody,  and  have  the  violins 
that  play  the  counter  melody  make  a  good  attack 
on  the  first  note  of  each  of  the  melodic  groups. 

In  measure  fifty -one,  make  a  slower  and  longer 
beat  for  the  Ritard.  In  measure  fifty-two,  give 
the  down  and  up  beat  and  use  the  "cut"  beat  at 
the  end  of  the  second  beat  to  make  all  players 
finish  together  on  the  eighth-note.  Make  a  per- 
ceptible pause  o  before  taking  up  the  next  move- 
ment. 

Measure  fifty-two  is  rather  unusual  but  very 
effective,  and  it  will  require  some  practice  to 
direct  the  entire  closing  phrase  correctly  and  to 
secure  a  clean  finish  on  this  peculiar  ending. 
Have  the  players  count  back  six  bars  from  the 
hold  o>  and  practise  this  phrase  until  it  is  done 
acceptably. 

Teach  the  players  to  count  a  given  number  of 
measures  forward  or  backward  from  a  first  ending 
fi  i]|;  from  a  hold  °  ;  from  a  double  bar  Q  ;  or  from 
the  title  of  the  next  movement.  In  the  case  in 
question.,  the  instructions  could  be: — count  back 
six  bars  from  the  hold  o  ;  from  the  double  bar  :J  ; 
or  from  the  Andante  moderate. 

Always  begin  with  a  full  measure  in  rehearsing 
a  particular  passage,  starting  on  the  first  or  down 
beat;  try  to  select  the  beginning  of  a  natural 
musical  phrase  to  use  for  repetitions. 

The  next  movement  Andante  moderato  is  writ- 
ten as  ^  measure  taken  at  (J.res).  (Notice  again 
the  use  of  the  dotted  quarter-note  as  the  unit 
equal  to  one  beat).  The  hand  beat  is  exactly  like 
|  measure.  Down,  left,  right,  up,  except  that  the 


126        PUBLIC   SCHOOL   ORCHESTRAS   AND   BAXDS 

rhythm  has  three  sounds  for  each  beat  instead  of 
one  or  two  as  commonly  used  in  |  measure.  Make 
the  string  bass  play  the  first  note  loud,  as  it  comes 
on  the  first  beat  of  the  measure  and  is  also  the  first 
note  of  the  three-note  groups  which  make  up 
the  fundamental  rhythm  of  the  movement.  Let 
the  violin  play  the  pizzicato  distinctly,  and  cue  the 
cornet  for  the  solo,  on  the  fourth  or  up-beat. 

It  has  not  been  necessary  to  use  cue  letters  in 
this  selection  for  most  of  the  movements  have 
been  short  enough  to  rehearse  in  their  entirety, 
except  in  the  Allegretto  use  A  in  measure  twenty- 
three  at  the  change  of  key. 

Now  at  measure  10,  in  the  Andante  moderate, 
use  the  letter  B.  Always  place  the  cue  letter  over 
the  bar,  never  in  the  middle  of  the  measure. 
From  B  to  the  end  of  this  movement  is  very  pretty 
and  effective,  and  has  some  good  cues,  and  nice 
solo  effects.  Always  give  the  cue  or  "start-signal" 
to  each  of  the  different  instruments.  Observe  that 
most  of  the  themes  begin  after  the  third  beat,  so 
make  that  beat  serve  as  a  cue  beat.  (As  a  pass- 
ing comment,  it  might  be  well  to  remind  the 
reader  that  either  in  singing  or  playing,  you  play 
with  the  beat  or  after  it,  so  rhythm  is  very  simple 
if  you  keep  this  constantly  in  mind). 

This  entire  movement  illustrates  the  rule. 

In  measure  twenty-four,  Andante  moderate, 
subdivide  the  third  and  fourth  beats  and  make 
the  pause  ^  on  the  second  subdivision  of  the 
fourth  beat  for  the  hold,  using  the  last  beat  as  a 
cue  beat  for  the  final  chord.  In  measure  twenty- 
five  use  three  slow  beats,  making  the  third  beat  a 
cut  beat,  to  finish  the  chord  together. 

Allow  time  to  turn  the  page,  and  take  up  the 


CONDUCTING  127 

next  Allegretto  at  the  same  tempo  as  used  before 
(Jstos).  In  measure  twenty-three  of  this  move- 
ment, use  the  cue-letter  C.  In  measure  fifty -two 
again  occurs  the  peculiar  ending,  which  must  be 
executed  smoothly  to  be  effective. 

Allegro  vivo  \  at  (J^iie),  is  a  little  faster  than 
the  previous  movement.  Beat  strict  time  up  to 
measure  twenty-two,  where  the  Ritard  occurs.  To 
make  this  effective,  it  will  be  necessary  to  use  four 
beats  in  this  measure,  subdividing  the  regular 
beats  so  as  to  make  a  graceful  and  smooth  ap- 
proach to  the  Grandioso.  To  rehearse^this  pas- 
sage, count  back  six  (6)  bars  from  the  double  bar 
or  Grandioso,  and  start  on  the  first  beat  of  the 
measure.  It  will  count:— 

rail. 

ft      2  &  |   1      2     I    1     2  &  I   1     2  Si]   I     2  &  I   1    &  2  &  II  12  Beat  as   1 
D.    U.       I  D.    U.    I    D.   U.      I  D.  U.       I   D.   U.      I  T>.  L.  R.  U.  II    8      slow      4 

Practise  this  phrase  many  times  until  it  is 
firmly  fixed  in  the  minds  of  the  players. 

The  final  movement,    Grandioso  is    written   in 

(J.  . .  69)    Beat  four  beats  down  left,  right,  up. 

As  the  counter  melody  is  played  by  the  bass 
instrument  do  not  take  the  tempo  too  fast  nor  yet 
let  it  drag. 

In  measures  nine  and  ten  the  ensemble  ends 
on  the  third  beat  and  this  beat  serves  to  cue  in 
the  cornet  solo  passages.  The  last  beat  of  this 
measure  (ten)  brings  in  a  full  accented  chord 
resolving  and  ending  on  the  1st  beat  of  the  next 
measure;  it  occurs  again  on  the  second,  ends  on 
the  third,  starts  on  the  fourth,  and  ends  in  a 
double  accent  on  the  first  beat  of  measure  twelve. 

These  accented  chords  demand  specially  ac- 
cented beats  by  the  leader. 


128        PUBLIC  SCHOOL  ORCHESTRAS   AND   BANDS 

Overture  Raymond,  by  Ambroise  Thomas,  pub- 
lished by  Walter  Jacobs,  Boston,  Mass.,  is  a  good 
study  for  a  high-school  orchestra. 

The  length  of  the  movements  and  the  frequent 
difficult  passages  that  need  extra  drill,  demand  the 
use  of  cue  letters. 

After  the  first  eight  bars,  Allegro  moderate, 
occurs  a  two-bar  rest  which  is  rather  unusual. 
However,  the  time  for  these  two  silent  measures 
must  be  indicated  by  a  small,  yet  visible,  beat. 

The  same  sort  of  a  phrase  occurs  again,  followed 
by  two  bars  of  rest. 

Count  measures  from  the  beginning. 

Place  A  over  bar  twenty-one,  B  over  bar  forty- 
five. 

Andantino — (next  movement) .  Count  measures 
from  the  double  bar. 

Place  C  over  bar  twenty -seven,  D  over  thirty- 
eight,  E  over  sixty -one. 

It  will  be  found  advisable  to  beat  this  entire 
movement  as  f  instead  of  §,  especially  with 
amateurs. 

Allegretto  con  moto  place  F  over  twenty-one, 
G  over  thirty -seven,  H  over  sixty -five,  /  over 
eighty-one,  J  over  ninety-six,  then  use  Meno 
mosso.  Place  K  over  the  twenty-seventh  measure 
from  the  full  measure  marked  Meno  mosso. 

Piu  mosso  —  (next  movement) .  Place  L  over 
twenty -seventh  measure  (from  Piu  mosso). 

To  transfer  these  cue  letters  to  the  parts, 
mark  in  the  reference  copy  (first  violin),  the 
number  of  measures  between  each  letter.  The 
next  letter  will  always  be  placed  over  the  next 
bar.  In  counting  for  the  next  letter,  include  the 
cue  letter  measure  as  the  first  measure  of  the 
next  group;  i.e. — from  beginning,  twenty  meas- 


CONDUCTING  129 

ures  to  A;  twenty -four  horn  A  to  B;  twenty -four  to 
Andante;  twenty-six  from  Andante  to  C;  eleven  from 
C  to  Z),  and  so  on  to  the  end.  This  makes  it  easy 
to  count  and  transfer  the  cue  letters  accurately. 
The  horns  are  usually  the  hardest  part  to  mark  as 
they  frequently  have  many  measures  of  rest. 


Pique  Dame  Overture  —  VON  SUPPE 
Published  by  Walter  Jacobs,  Boston,  Mass. 

Try  inscribing  the  cue  letters  as  indicated. 
Moderato  —  26  to  A. 
Allegretto  confuoco  —  50  to  B  —  47  to  C  —  16  to  D— 

28  to  E. 

Andantino  con  moto  — 
Allegro—  SO  to  F—  54  to  G. 

To    count    for    C,    begin    with    the    fifty-first 
measure  as  the  first  of  the  forty-seventh  group- 
placing    C    over    the   forty-eighth    measure,    etc. 

Two  examples  are  afforded  in  this  piece:  —  (1)  In 
the  first  measure,  beat  the  two  silent  beats  of  the 
half-rest  which  really  act  as  two  cue-beats  to  start 
on  the  third;  (2)  —  the  Presto  (last  eight  bars) 
beat  one  dowrn-beat  to  each  measure. 

With  the  fourth  bar  begins  a  hold,  ending  in  the 
fifth  measure  with  two  short  chords.  To  conduct 
it  well,  just  remember  that  you  have  five  measures 
or  five  down  beats  and  count  your  beats  as 


In  the  last  measure,  make  two  quick  beats  with 
the  hand  well  up  in  the  air,  as  if  you  were  pounding 
on  a  door  (Bang!  Bang!} 


130        PUBLIC   SCHOOL   ORCHESTRAS    AXD    BANDS 

These  suggestions  may  serve  to  assist  the 
teacher  in  studying  (1)  the  mechanical  movements 
of  conducting,  (2)  in  finding  suitable  places  for 
repeated  drills  of  difficult  passages,  (3)  in  placing 
cue  letters,  and  (4)  in  illustrating  the  solution  of  a 
few  problems  that  demand  special  treatment. 

(See  Essentials  in  Conducting.,  by  Karl  W.  Gehr- 
kens.  Oliver  Ditson  Company). 

SUGGESTIONS  ABOUT  REHEARSALS 

The  symphony  orchestra  conductors  are  teachers 
of  the  first  rank.  They  know  their  subject  thor- 
oughly and  are  able  to  impart  their  knowledge  to 
others.  Moreover,  they  are  able  to  inspire  the 
players  under  their  command,  to  give  their  best 
at  all  times.  However,  if  a  conductor,  with  all  the 
other  virtuoso  qualifications  which  most  of  them 
possess,  has  not  the  rigid  drive  of  a  drill  master, 
his  usefulness  is  limited.  To  know  what  to  re- 
hearse, where  to  locate  the  fault,  how  to  correct  it, 
to  drill  until  the  desired  result  is  obtained,  these 
qualities  make  the  good  conductor.  They  are 
the  essentials,  then,  that  one  must  cultivate  if  he 
would  excel  in  this  great  art. 

If  one  has  had  no  orchestral  experience,  it  is 
advisable  to  attend  the  rehearsals  of  some  good 
orchestra  and  study  the  methods  of  the  conductor. 
Drilling  amateur  organizations  such  as  exist  in 
schools  is  more  difficult  than  working  with  pro- 
fessionals, for  the  performers  are  not  as  yet  masters 
of  the  instruments.  So  the  successful  teacher  of 
amateurs  is  handicapped  if  he  has  not  some  technical 
knowledge  of  all  the  instruments.  To  those,  then, 
who  have  not  this  knowledge,  a  few  other  sugges- 
tions may  be  helpful. 


CONDUCTING  131 

Study  carefully  the  hints  given  in  the  chapter  on 
Tuning. 

Study  separately  all  the  parts  of  the  composi- 
tion to  be  played  before  they  are  distributed  to  the 
players.  Mark  on  your  conductor's  part,  in  small 
notes,  those  passages  that  may  need  special  drill 
and  with  which  you  should  be  familiar  without  having 
to  refer  to  the  player's  part.  (Note  suggestions 
made  in  Chapter  Sixteen). 

Learn  to  perfect  the  secondary  parts,  and  do  not 
give  all  your  attention  to  the  first  violins. 

Rehearse  sections.  Drill  all  the  strings  on  a 
difficult  passage,  then  take  all  the  brass,  and  then 
the  wood-wind,  showing  good  judgment,  however, 
by  not  allowing  any  section  to  remain  silent  too 
long. 

Let  the  melody  parts  remain  silent  and  rehearse 
the  second  violins,  horns  and  drums  alone,  always 
using  the  piano  part,  which  helps  to  weld  the 
playing.  Take  these  same  instruments  through 
again,  adding  cornets,  trombone,  bass,  and  clari- 
nets. 

When  secondary  or  accompaniment  parts  are 
well  played,  the  entire  performance  is  greatly 
improved.  Even  if  the  melody  parts  are  well 
played,  and  the  accompaniment  parts  are  indis- 
tinct, ragged  and  uncertain,  the  effect  is  far  from 
pleasing,  but  if  the  accompaniment  parts  and  the 
full  harmonic  structure  of  the  composition  are 
distinct,  defined,  and  well  played,  even  an  inferior 
performance  of  the  melody  parts  is  not  wholly 
annoying. 

The  importance  of  the  rehearsals  depends  upon 
the  amount  of  improvement  that  is  made  in 
playing  the  secondary  or  accompaniment  parts, 
and  the  development  of  the  entire  ensemble. 


132        PUBLIC   SCHOOL    ORCHESTRAS    AND    BANDS 

Always  endeavor,  at  each  rehearsal,  to  bring 
one  composition  up  to  the  standard  of  finished 
work. 

Use  these  finished  pieces  to  begin  and  end  the 
rehearsal.  Never  allow  the  careless  playing  of  any 
composition,  for  in  proportion  to  the  standard  of 
performance  which  you  demand,  just  so  will  the 
players  respond. 

In  public  performance,  the  players  should  al- 
ways be  given  the  same  tempos,  and  the  same 
cues,  that  were  found  necessary  to  be  given  at 
rehearsal. 

Do  not  try  to  show  off  as  a  conductor,  but  give 
your  entire  attention  to  helping  the  players  to 
come  in  on  time,  to  realize  that  you  know  when  and 
what  they  are  to  play  and  how  it  should  be  played, 
and  that  as  a  conductor  you  are  a  help  instead  of  a 
hindrance.  This  attitude  will  stimulate  the  hearty 
cooperation  of  all  the  players.  If  you  attempt, 
especially  with  amateurs,  to  do  in  public  something 
different  from  that  which  you  have  done  at  rehear- 
sals, the  poor  performance  will  be  due  to  the  poor 
conducting  instead  of  poor  playing.  A  good  con- 
ductor can  make  amateurs  do  wonders  and  a  poor 
conductor  can  spoil  the  performance  of  even  the 
famous  Boston  Symphony  Orchestra. 

How  To  DRILL 

(1)  Have  all  the  music  that  is  to  be  rehearsed 
placed  in  a  large  folding  envelope  for  Orchestra, 
No.  4556-C-Yawmanote  Filing  Pockets;  15x9j^x 
1%  expansion;  for  Band,  No.  4033-C-Yawmanote 
Filing  Pockets,  11^x9^x11  1-3  expansion,  la- 
beled on  the  outside  with  the  name  of  the  instru- 
ment, as:— 


CONDUCTING  133 

Solo  Cornet — 1st  Cornet. 
Baritone  Treble  Clef  (T.  C.)  Tuba. 
E-flat  Clarinet-Baritone  Bass  Clef  (B.  C.) 

(2)  Appoint  a  librarian  to  distribute  these  en- 
velopes, placing  them  on  the  racks  with  the  label 
visible,  so  that  the  players  know  where  to  find 
their  respective  places. 

(3)  Have  the  racks  and  chairs  placed  according 
to  the  seating  plans  suggested.     Two  players  are 
supposed  to  read  from  one  part,  so  only  one  rack 
is  necessary  for  every  two  players.     All  of  these 
preparations  should  be  completed  and  ready  before 
the  players  gather. 

(4)  A  quick  way  to  take  the  attendance  is  to 
place  a  sheet  of  ruled  foolscap  paper,  clipped  to  a 
heavy  cardboard,  with  a  pencil  attached  to  a  long 
string,  and  let  the  members  sign  up  as  they  come 
into  the  rehearsal  room.     This  eliminates  wasted 
time  consumed  in   calling  the  roll,  and    the    at- 
tendance can  later  be  transferred  to  the  permanent 
record. 

(5)  Tune  up  one  instrument  at  a  time.     Do  this 
carefully,  but  quickly.     Listen  all  the  time  during 
the  rehearsal  for  bad  intonation  and  learn  to  detect 
the  particular  instrument  that  is  flat  or  too  sharp. 

(6)  Begin  the  rehearsal  with  some  easy  number, 
a  march  or  some  familiar  piece.     Always  end  the 
rehearsal  with  some  selection  which  the  group  can 
play  well.     Never  start  a  rehearsal  with  a  selection 
that  is  new  to  all.     A  poor  beginning  and  a  poor 
ending  of  a  rehearsal  are  very  apt  to  have  a  dis- 
heartening effect  on  the  players.     Sandwich  the 
new  numbers  and  the  real  grinding  drill  work  of 
the  rehearsal  period  between  the  two  layers  of 
familiar  pieces. 


134        PUBLIC   SCHOOL    ORCHESTRAS   AND    BAXDS 

(7)  Acquire  speed  in  knowing  what  to  attack 
and  where  to  focus  the  energy  of  your  drill. 

(8)  Listen  for  bad  intonation  and  keep  the  in- 
struments in  good  tune  as  they  warm  up  and  get 
sharp  as  the  rehearsal  progresses. 

(9)  Select  the  numbers  to  be  rehearsed  with  the 
idea  of  having  some  selections  ready  for  a  public 
performance.     A  symphony  orchestra  or  a  concert 
band  would  soon  tire  of  rehearsals,  if  they  had  no 
prospect  of  performing  the  selections  for  an  audi- 
ence.    A  band  that  makes  frequent  public  appear- 
ance rarely  lacks  interest  in  the  rehearsals. 

(10)  Always   have  four   or  five   marches   well 
rehearsed,  an  overture  that  can  be  performed  with 
finish,  style  and  dash,  and  at  least  one  patriotic 
selection  of  familiar  tunes. 

(11)  The  parts  of  an  overture  that  call  into 
play  the  full  band  are  apt  to  be  more  frequently 
rehearsed  than  the  more  quiet  parts  which  employ 
solo  effects.     The  fewer  instruments  playing,  the 
more    perfect    must    be    the    intonation.     These 
quiet  passages  show  off  the  band  to  better  ad- 
vantages than  the  noisy  parts,  so  drill  carefully 
to  perfect  these  movements. 

(12)  When  rehearsing  a  composition,  endeavor 
to  bring  each  separate  movement  up  to  a  degree  of 
finish  that  will  convey  to  the  players  the  tempo 
and  style  of  performance  that  you  desire. 

(13)  Always  play  a  new  composition  through 
in  its  entirety,  that   the  players  may  get  some 
general  idea  of  the  selection.     As  the  last  move- 
ment is  usually  the  climax  and  frequently  con- 
tains the  most  difficult  parts,  learn  the  last  move- 
ment first. 


CONDUCTIXG  135 

(14)  Rehearse  each  movement  separately,  pick- 
ing out  the  difficult  measures  and  drilling  on  them 
until  the  rhythm,  tone,  intonation,  and  expression 
are  thoroughly  understood  by  the  performers. 
Endeavor  to  get  a  good  rendition  of  each  move- 
ment as  you  rehearse  it,  then  take  another  move- 
ment, and  drill  on  that.  Make  your  drill  work 
constructive,  having  in  view  two  objects,  either 
perfection  of  technical  detail  or  an  ensemble  per- 
formance of  the  composition  that  will  exemplify 
the  ideals  of  perfection  toward  which  you  have 
been  working.  Rehearsing,  without  a  definite  pur- 
pose, is  like  walking  without  a  destination  in  view. 
You  never  arrive. 

(15)  "Finished  work"  consists  of  those  selec- 
tions that  have  been  frequently  played  and  suf- 
ficiently well  rehearsed  to  be  presented  at  a  public 
performance.  After  all  the  different  movements 
have  been  worked  out  separately,  the  entire  com- 
position must  be  played  through  to  secure  con- 
tinuity of  performance,  contrasts  of  effects,  tonal 
balance,  rhythmic  poise,  accurate  intonation,  dy- 
namic moderation  and  artistic  presentation. 


CHAPTER   XII 

SUGGESTIONS  ABOUT  TUNING 

The  tuning  of  bands  and  orchestras  in  the 
elementary  and  high  schools  presents  a  serious 
problem  to  the  average  amateur  teacher,  par- 
ticularly if  this  teacher  is  not  a  performer  upon 
some  other  instrument  than  the  piano.  It  is 
better  to  use  the  piano  for  tuning  than  to  rely 
upon  a  pitch  pipe  or  some  other  instrument. 
International  pitch  on  the  piano  is  A-435.  The 
majority  of  professional  orchestras  tune  to  about 
A-440.  All  pianos  that  are  to  be  used  with 
orchestras  should  be  tuned  to  the  pitch  of  A-435. 

VIOLINS  Sound  A  on  the  piano.  The  strings  of  the 
violin  are  first,  E;  second,  A;  third,  D\ 
fourth,  G.  Tune  the  A  string,  then  the  E,  then 
D  and  then  G,  plucking  the  strings  until  they  are 
up  to  the  pitch;  use  the  bow  to  finish  the  tuning. 
When  tuning  a  violin,  the  teacher  should  inspect 
the  bridge  to  see  that  it  is  straight  and  that  the 
sound-post  is  in  position.  The  violin  is  tuned  in 
fifths.  While  seemingly  it  is  easy  to  tune  a  violin, 
it  requires  considerable  practice  to  tune  it  correctly 
and  quickly. 

The  best  violin  string  to  use  for  pupils  of  the 
orchestras  in  the  elementary  schools  is  a  steel  E 
with  a  patent  tuner.  (In  illustration  No.  1,  page 
38  is  shown  the  steel  E  and  tuner).  The  gut 
strings  break  so  easily  that  they  are  both  expensive 
and  troublesome.  The  silk  strings  are  less  ex- 

136 


SUGGESTIONS   ABOUT    TUNING  137 

pensive,  not  as  durable,  but  give  satisfactory 
service.  Inasmuch  as  many  of  the  symphony 
orchestra  players  use  the  steel  E  strings  not  only 
for  concert  but  for  solo  work  as  well,  there  can  be 
little  objection  raised  to  the  tone  which  is  pro- 
duced from  a  steel  string  as  being  unmusical. 
They  are  much  easier  to  tune  if  attached  with  a 
patent  tuner  which  costs  but  thirty -five  cents; 
otherwise,  they  are  difficult  to  adjust  accurately, 
as  the  least  tension  raises  or  lowers  the  pitch  very 
perceptibly. 

When  pegs  are  slippery  and  will  not  hold  in 
the  scroll,  apply  chalk  to  the  points  of  contact. 
This  will  help  materially,  at  the  immediate  mo- 
ment, in  making  a  peg  hold  tight.  However,  if 
the  condition  is  chronic,  it  is  better  to  have  a 
repairer  fit  a  new  peg. 

If,  by  any  chance,  the  sound-post  should  be 
out  of  place  or  down,  do  not  attempt  to  replace  it 
yourself,  but  see  that  the  violin  is  taken  to  a  pro- 
fessional repairer,  for  the  replacing  of  a  soundpost 
is  a  difficult  feat  to  perform. 

When  replacing  broken  strings,  lock  the  string 
in  the  tail  piece,  either  by  making  a  double  knot, 
or  by  a  loop  through  which  the  string  may  be 
slipped.  Carry  it  over  the  bridge  up  to  the  peg. 
Insert  the  string  in  the  peg-hole,  turn  the  peg  from 
you  until  the  end  is  easily  caught,  pull  through 
until  the  slack  is  taken  out  of  the  string.  In 
order  to  make  a  lock  on  the  string,  which  will 
prevent  its  slipping,  wrap  the  loose  end  around  the 
string  over  to  the  right  and  under,  holding  it  in 
such  a  position,  until  the  tension  is  drawn  on  the 
string  by  turning  the  peg. 

If  a  double  length  E  string  is  used  always  cut 
the  string  in  two,  using  a  single  length  instead  of 


138        PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

allowing  the  unused  portion  of  the  string  to  be 
wrapped  around  the  scroll.  It  is  always  advis- 
able for  the  teacher  to  carry  a  few  steel  E  strings, 
the  ones  that  break  the  most  frequently. 

It  is  advisable  that  all  violins  be  equipped  with 
chin  rests.     (Becker  is  good,  and  made  in  America) . 

VIOLA  AND  'CELLO   The   viola   and    'cello    are   also 
tuned  in  fifths.     The  names  of 
the    strings,    in    order   are   first,    A;     second,    D; 
third,  G',  fourth,  C. 

STRING  BASS  The  string  bass  is  tuned  in  fourths 
instead  of  fifths,  the  first  string  is 
G;  the  second,  D;  the  third,  A;  and  the  fourth,  E. 
It  is  better,  by  far,  to  tune  to  the  pitch  of  the 
piano  by  sounding  the  various  tones,  than  to 
attempt  to  tune  from  a  pitch  of  A,  as  professionals 
do.  The  string  section  is  really  the  easiest  sec- 
tion in  the  entire  orchestra  to  get  in  tune,  and, 
incidentally,  the  first  section  to  get  out  of  tune. 

FLUTES  A  good  Boehm  flute  is  expensive.  The 
old  Meyer  System  flutes,  mostly  high 
pitch,  are  numerous  in  second  hand  stores.  To 
lower  high  pitch  instruments  it  is  necessary  to 
pull  out  the  barrel  joint  at  least  one-half  to  three- 
fourths  of  an  inch.  (Illustration  No.  5,  left). 
On  the  piano,  sound  second  space  A,  then  try 
octave  A  (first  line  above  the  staff),  and  also  test 
the  pitch  of  D  (third  space  above  the'  staff). 
High  pitch  flutes  and  clarinets  are  the  bug-bear 
of  the  instrumental  teacher's  existence,  as  they 
are  cheap,  and  the  parents  usually  purchase  inex- 
pensive instruments  until  the  pupil  has  proved  that 
it  is  worth  while  to  spend  money  on  a  better  one. 


SUGGESTION'S   ABOUT    TUM.\<,  139 

It  is  almost  impossible  to  get  these  high  pitch  in- 
struments in  good  tune. 

CLARINETS  Tne  B.flat  Clarinet  can  be  tuned  two 
different  ways.  Follow  the  previous 
suggestions.  Sound  A  on  the  piano  and  ask  the 
player  to  sound  B -natural  on  his  clarinet.  The 
next  alternative  is  to  sound  the  B-flat  on  the  piano 
and  ask  the  player  to  sound  C.  The  latter  method 
is  to  be  recommended.  If  the  pitch  is  flat,  the 
joints  must  be  crowded  together,  if  the  pitch  is 
sharp,  the  mouth-piece  and  barrel  joint  can  be 
pulled  out  about  one-eighth  of  an  inch.  When- 
ever the  mouth-piece  or  barrel  joint  is  pulled  out 
very  much,  it  nearly  always  affects  the  natural 
pitch  of  the  instrument  and  certain  tones  will  still 
be  out  of  tune.  If  tuning  an  A  Clarinet  sound  A 
on  the  piano  and  ask  the  player  to  sound  C. 
Always  test  these  tones  by  sounding  the  octave. 

CORNET  The  cornet,  like  the  clarinet,  can  be 
tuned  in  two  different  ways.  Sound  A 
on  the  piano  and  have  the  player  sound  B-naiural 
(the  second  valve  down),  or  sound  B-Hat  on  the 
piano  and  ask  the  player  to  sound  C.  If  the  in- 
strument is  flat,  shorten  the  length  of  the  tube  by 
pushing  in  the  tuning  slide,  if  sharp,  pull  out  the 
tuning  slide  and  lengthen  the  tubing,  thus  raising 
or  lowering,  the  pitch  of  the  instrument.  The 
tuning-slide  is  shown  in  Illustration  No.  7. 

I-OHXS  Horns  are  built  in  F.  It  is  best  to  sound 
the  F,  fourth  line  bass  clef  and  ask  the 
player  to  sound  C.  Use  the  tuning-slide  to  alter 
the  pitch.  Horns  in  E-flat  sound  E-flat,  and  horns 
in  D  sound  D.  Always  ask  player  to  sound  C. 


140        PUBLIC  SCHOOL   ORCHESTRAS   AND   BANDS 

TROMBONES  The  trombone  is  built  in  B-flat. 
Sound  B-flat,  second  line,  and  first 
added  space,  bass  clef.  Have  the  player  sound  the 
open  tone  of  B-flat  as  the  tone,  in  this  case,  sounded 
by  the  player  is  the  actual  and  not  transposed 
pitch.  If  player  reads  from  treble  part,  sound 
B-flat  and  have  the  player  sound  C. 

TUBA  The  tuba  is  built  in  E-flat  and  is  a  non- 
transposed  instrument.  Sound  low  E-flat 
on  the  piano,  first  line  below  the  staff  bass  clef, 
then  have  the  player  sound  the  pitch  of  the  o^>en 
tone. 

BASSOON  AND  OBOE      The  oboe  and  the  bassoon  are 

difficult  instruments  to  tune 

because  the  amateur  can  hardly  humor  the  reed 
enough  to  bring  it  up  to  pitch.  Tune  the  oboe  to 
the  A  of  the  piano  and  if  too  sharp,  pull  the  reed 
out  a  little,  if  too  flat  push  the  reed  in,  or  cut  off 
some  of  the  cork  end.  To  flatten  bassoon  do  not 
disturb  the  reed,  but  pull  out  the  metal  crook.  A 
new  reed  needs  adjusting.  Some  are  too  soft  and 
others  too  stiff. 

How  TO  TUNE  BAND  INSTRUMENTS 

It  is  necessary  to  warm  the  instruments  by 
blowing  through  them.  Stuff  a  handkerchief  into 
the  bell-end  of  the  clarinet,  force  the  air  through 
the  finger-holes.  Reed  and  brass  instruments  are 
nearly  always  flat  when  cold  and  become  sharp 
when  warmed  up  by  playing. 

Strings  go  flat  by  the  warmth  and  moisture  of 
the  hand  and  must  be  re-tuned. 


SUGGESTIONS   ABOUT   TUNING  141 

Test  out  the  B-flat  clarinets  asking  each  one  in 
turn  to  sound  C,  third  space  treble,  and  take  the 
lowest  pitched  clarinet  as  the  tuner. 

Let  the  player  sound  his  C  and  tune  each  B-flat 
clarinet  separately  to  this  pitch,  each  player 
sounding  C.  Tune  one  at  a  time.  Always  hear 
the  tuner  first,  then  the  instrument  to  be  tuned 
afterwards.  Do  not  let  them  sound  together,  as 
it  is  difficult  to  judge  whether  the  pitch  heard  is 
above  or  below  the  pitch  desired. 

As  you  have  taken  the  lowest  pitched  tone,  all 
the  other  clarinets  should  be  a  little  sharp  of  the 
desired  pitch.  Pull  the  mouth-piece  out  a  little, 
not  to  exceed  an  eighth  of  an  inch. 

To  this  C  of  the  clarinet,  tune  all  of  the  B-flat 
cornets  separately,  each  sounding  its  C.  Test 
the  natural  or  fundamental  open  tones  C,  G,  C. 
Pull  the  tuning-slide  out  about  a  quarter  of  an 
inch  or  more,  if  the  pitch  is  too  sharp. 


142        PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 


TUNING  CHART   FOR  BAND 
UNISON  FOR  TREBLE  INSTRUMENTS 


1. 


(Clarinet  in  B!> 
1  Cornet  in  B!>    I 
j  Soprano  Saxo-  i 


(  phone  in  B!> 
2.    E!>  Clarinet 

3     Dt  Piccolo 
4.    Flute  in  C 


Sound 


Sound 


Sound 


Sound 


5. 


Clarinet  in  B!> 

or 
Cornet  im  B!> 


FOR  BASS  INSTRUMENTS 


fi    JE!>  Altos  i 

I  Et  Alto  Saxophone' 


7.     E\>  Baritone  Saxophone 


(  B!>  Tenor  Saxophone  ) 

8.  <  B\>  Baritone    (Treble  Clef)  > 

(  Bl»  Trombone    (Treble  Clef)) 


9. 


B\>  Baritone  (Bass  Clef)  ) 
B!>  Trombone  (Bass  Clef)j 
Bassoon 

El>  Tuba    ) 


Sound 


Sound 


Sound    3 


Sound 


Sound     V' 


Sound     V' 


CHAPTER  XIII 

SEATING  PLANS  FOR  ORCHESTRAS  AND  BANDS 

The  diagrams  that  follow  give  various  plans 
for  seating  groups  of  instrumentalists.  As  the 
number  of  performers  vary,  as  well  as  the  amount 
of  space  at  the  conductor's  disposal,  the  plans 
outlined  are  given  only  as  suggestions.  In  the 
seating  plans  for  orchestra,  as  well  as  those  for 
band  that  follow,  the  number  of  the  performers 
indicated  in  each  diagram  suggests  the  proper 
proportion  for  an  effective  balance  of  parts.  The 
mark  X  indicates  the  position  of  the  music  stands. 

The  piano  player  should  always  be  able  to  see 
the  conductor. 


ORCHESTRA   OF   SIX   PARTS  AND   PIANO 
(Ten  performers) 

The  next  grouping  for  a  small  orchestra,  while 
of  but  six  different  instruments  besides  the  piano 
uses   the  flute  in  place  of  the  clarinet  and  the 
trombone  in  place  of  the  second  cornet. 

143 


144        PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 


ORCHESTRA   OF   SIX   PARTS    AND    PIANO 
(Ten  performers) 


The  third  grouping  contains  all  the  instruments 
in  the  first  two  with  the  addition  of  string  bass  and 
second  violin,  naturally  a  more  effective  combina- 
tion. 


ORCHESTRA    OF    TEX    PARTS   AND    PIANO 
(Nineteen  performers) 


By  adding  two  horns,  two  violas  and  a  second 
clarinet,  and  at  the  same  time  increasing  the  body 
of  strings  in  due  proportion  a  still  more  effective 
orchestra  is  indicated  in  No.  4. 


SEATIXG  OF  ORCHESTRAS  AND  BANDS 


145 


ORCHESTRA    OF    FOURTEEN    PARTS   AND    PIANO 
(Thirty  performers) 


The  addition  of  the  oboe  and  bassoon  with  a 
further  strengthening  of  the  string  section  gives 
us  what  is  termed  the  "Full  Orchestra." 


FULL  ORCHESTRA   AND   PIANO 
(Forty-five  performers) 


The  richness  of  the  complete  "Symphony  Or- 
chestra" is  due  to  its  full  complement  of  players 
in  both  the  wood  wind  and  brass  choirs  properly 
balanced  by  an  ample  body  of  string  players,  and  the 


146 


PUBLIC  SCHOOL   ORCHESTRAS   AND   BANDS 


addition  of  the  harp.  In  an  orchestra  of  a  hundred 
players  about  three-quarters  are  in  the  string 
choir.  In  building  or  grouping  any  orchestra  this 
general  proportion  should  be  kept  in  mind  lest 
the  wind  section,  particularly  the  brass,  over- 
balance the  strings  and  the  group  become  a  band 
rather  than  an  orchestra. 


/0\ 

r 

? 

OQO 

QxO 

Tympani          Drums 

O 
X 

O 

X 

O 

X 

O 

X 

Horns 

0      0 

X          X 

0      0 

X           X 

0 

X 

O 

X 

Bassoons      Clarinets 


O 

X 

O 

X 

Oboes 


g- 
g- 

g" 
g" 

g* 
g« 

o      o 

o      o 

O     O 
x 


O      O      O    X0 

xo  xo    o    o    o 


16  First  Violins 


H  Second  Ho/iVis 


SYMPHONY   ORCHESTRA 
(Seventy-nine  performers) 


The  governing  factor  in  the  grouping  and  seat- 
ing of  an  orchestra  is  the  string  section,  because 
of  its  dominant  importance,  while  in  a  band  the 
burden  of  the  performance  rests  on  the  clarinets 
and  cornets.  The  diagrams  that  follow  are  in- 
tended to  suggest  not  only  the  proper  seating  of 
bands  of  various  sizes,  but  the  proper  balance  of 
instruments. 


SEATING  OF  ORCHESTIIAS    l.VD  BANDS 


147 


Tuba]       x    TVoTrj. 


Drums 


— '  x  L 
Altos 


1$  |*      I  So/o  I  x 
C/armefs 


x 
Con. 


.SMALL   BAND 
(Sixteen  performers) 


2^1        I  So/o|   *|flgr..  |      \~3ti 
x  x 

[~So/o  |     x[  /at  [        I  22^ 
Corn^s 


By  adding  oboe,  bassoon,  piccolo,  basses,  third 
and  fourth  altos  and  second  and  third  trombones, 
at  the  same  time  adding  to  the  clarinets  and  cor- 
nets a  large  and  effective  though  not  complete 
band  is  obtained. 


Jg*|         [g*|     [¥» 

_,  x . 

Basses 


x 

\3«\   \0^>  [Sofo]x 

' Clarinets " 


Altos 


\B.D.\      \Sn. 
Drums 


|  So/o  |      \2^\      \9\ 

I 1    X| 1    X| — 

'  Cornets- 


|  Bar.  | 
I  Bar.  I 


LARGE    BAND 
(Thirty-four  performers) 


To  bring  a  large  band  like  that  just  indicated  up 
to  the  requirements  of  a  "Full  Military  Band"  a 
quartet  of  saxophones  and  aBB-flat  bass  are  needed, 


148        PUBLIC   SCHOOL   ORCHESTRAS    AND    BANDS 

besides  strengthening  the  other  parts.  Diagram 
No.  9  shows  the  seating  plan  for  a  band  of  this 
type. 


FULL   BAND 
(Forty-six  performers) 


CHAPTER   XIV 
How  TO  ASSEMBLE  AN  ORCHESTRA  SCORE 

1 — Lay  out  all  the  parts  on  a  table  in  the  fol- 
lowing order: 

First  violin,  second  violin,  viola,  'cello,  bass, 
flute,  first  clarinet,  second  clarinet,  first  cornet, 
second  cornet,  horns,  trombone,  drums,  oboe  and 
bassoon. 

2 — Inspect  each  part  separately  and  carefully. 

3 — Choose  those  parts  having  the  largest  full 
measures  of  either  melody  or  harmonic  parts. 

4 — Before  transcribing  the  notes,  it  is  advisable 
to  make  a  blank  scaffolding  of  the  exact  size  of  the 
measures. 

5 — Use  full  size  sixteen  stave  manuscript  paper 
for  the  score. 

6 — In  order  to  make  certain  how  many  pages 
will  be  needed,  make  a  diagram  of  the  actual 
number  of  measures  in  the  entire  composition. 

7 — Take  a  piece  of  foolscap  paper  the  exact 
width  of  the  ruled  lines  of  the  score  paper. 

8 — Use  the  first  violin  part  as  the  guide  for  the 
width  of  the  measures.  Make  a  mark  on  the 
diagram  paper  about  ^  of  an  inch  long  corre- 
sponding to  the  upright  bars  on  the  printed  page, 
like  the  marks  on  a  ruler,  which  will  give  you  the 
exact  width  of  each  measure.  Always  compare 
the  measure-spaces  with  the  different  parts  already 
selected  because  of  their  full  measures,  and  if  any 
measure  is  found  to  be  too  small  to  contain  all  the 

149 


150        PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

printed  notes,  increase  the  size  of  that  measure 
to  the  size  of  the  largest  measure,  and  change  the 
rest  of  the  measures  accordingly.  Remember 
that  a  printed  part  always  occupies  less  space 
than  a  hand-copied  or  manuscript  part;  so  instead 
of  crowding,  let  the  measure-space  be  ample. 

9 — Having  made  a  diagram  of  enough  measures 
to  fill  the  first  page  of  the  score  paper,  put  a 
check  mark  over  the  last  bar  included  on  the  first 
pages,  so  that  you  will  know  where  to  start  for  the 
second  page,  and  mark  page  one  on  the  music 
part  and  also  on  the  diagram. 

10 — Fold  this  diagram  under  about  one-fourth 
of  an  inch  and  a  new  edge  is  ready  to  be  marked 
for  page  two. 

11 — While  in  orchestra  parts  the  signature  is 
usually  omitted  it  is  better  to  use  it  at  the  begin- 
ning of  each  page  of  the  score,  so  always  allow 
space  for  the  signature  in  marking  the  width  of 
the  first  measure  on  each  new  page. 

12 — Having  allowed  space  for  the  signature, 
begin  at  the  check  mark  as  the  starting  point  for 
the  first  measure  of  the  second  page. 

13 — When  enough  measures  have  been  dia- 
grammed to  fill  the  width  of  the  score  paper,  make 
another  check  mark  to  indicate  where  you  stopped, 
mark  it  page  two  (2)  on  the  music-part  and  also 
on  the  diagram-part. 

14 — Fold  over  about  one-fourth  of  an  inch  and 
proceed  page  after  page  until  you  have  made 
complete  diagram  of  the  exact  size  and  number 
of  all  the  measures  in  the  entire  composition.  Be 
sure  to  indicate  the  first  and  second  endings  by 
lines  and  double  bars  exactly  like  the  printed  score, 
not  forgetting  the  space  for  the  signatures. 


ASSEMBLING    ,1.Y    ORCHESTRA    SCORE  151 

15 — When  the  size  of  all  the  measures  has  been 
made,  take  as  many  sheets  of  score  paper  as  will 
be  needed,  determined  by  the  number  of  pages 
marked  in  the  diagram  sheet — allowing  four  pages 
to  each  sheet  of  score  paper.  For  short  compo- 
sitions like  marches  three  sheets  or  twelve  pages 
are  usually  more  than  ample. 

16 — Take  wrhite  thread  and  a  needle  and  make 
about  three  large  stitches  in  the  crease  of  these 
sheets,  tying  them  together  and  binding  them  like 
a  book.  Number  each  page  in  the  upper  right 
hand  corner. 

17— Unfold  the  diagram  sheet  and  transcribe 
on  the  top  and  bottom  of  the  first  page  of  score 
paper  the  diagram  of  the  size  of  the  measure  of  the 
first  page.  Take  a  long  ruler  and  draw  the  bar 
lines  the  full  length  of  the  page.  Take  the  first 
violin  part  and  see  if  the  bars  correspond  and  the 
number  of  measures  is  correct  up  to  the  check 
mark  which  was  made  for  this  proof  test.  If  the 
diagram  is  correct,  proceed  to  rule  all  the  pages  as 
described. 

18 — When  all  the  bars  are  ruled,  write  in  the 
names  of  the  instruments  in  the  left  hand  margin, 
beginning  at  the  top  lines  as  follows:— 

Flute 

Oboe 

First  Clarinet 

Second  Clarinet 

Bassoons 

First  and  Second  Horns 
First  Cornet 
Second  Cornet 
Trombone 


152        PUBLIC   SCHOOL   ORCHESTRAS   A\D   BANDS 

Drums,  tympani 

First  Violin 
Second  Violin 
Viola 

Violoncello 
Bass 

Do  not  write  the  piano  or  organ  part;  leave  the 
last  two  lines  vacant.  In  order  to  assist  in  lo- 
cating the  various  instruments,  write  in  the  name 
of  the  instrument  on  the  left  hand  margin  of  each 
page,  if  not  already  printed  on  the  score  paper. 

19 — When  all  the  instructions  have  been  com- 
pleted, transcribe  the  first  violin  part  and  if  the 
diagramming  has  been  done  correctly,  the  parts 
will  come  out  equal.  Next  copy  the  first  clarinet, 
then  first  cornet,  trombone,  'cello,  flute,  and  re- 
maining parts,  finishing  with  the  drum  part. 
Copy  only  large  notes  as  the  small  cue  notes  are 
duplicated  in  large  notes  by  some  other  instrument. 
Where  an  instrument  has  a  measure  rest,  put  a 
whole  rest  ( — )  below  the  third  line  for  each 
measure.  Where  the  same  melody  is  played  by  a 
number  of  instruments  do  not  recopy  all  the 
melody,  but  mark  the  part  Colle  Violin  (same 
as  violin)  or  what  ever  part  contains  the  melody 
and  draw  a  wavy  line  through  as  many  measures 
as  the  melody  extends.  Score  paper,  printed  with 
names  and  order  of  the  instruments,  can  be  pur- 
chased from  the  publishers  of  this  book. 

20 — In  copying  the  parts,  keep  the  alignment  of 
notes  up  and  down  the  page.  This  will  materially 
assist  the  eye  in  reading  and  the  ear  in  hearing 
the  tones  that  are  to  sound  together,  by  the  hori- 
zontal appearance  of  notes  being  written  under 


ASSEMBLING   AN   ORCHESTRA    SCORK  153 

each  other  for  each  beat  of  the  measure.  The 
architectural  design  of  a  score  must  be  as  orderly 
and  as  well  spaced  as  a  drawing. 

21 — Purchase  a  miniature  score  of  any  of  the 
Beethoven  Symphonies  and  observe  the  spacing 
and  alignment  of  the  notes.  For  the  amateur 
wrho  has  had  no  study  of  orchestration,  this  affords 
an  excellent  conception  of  the  different  parts,  and 
copying  them  gives  one  an  intimate  acquaintance 
with  the  part  each  instrument  is  to  play. 

22 — Practise  trying  to  hear  how  it  sounds  together. 
Train  the  eye  to  follow  and  read  the  entire  page 
at  the  same  time. 

23 — Compare  the  score  with  the  piano  part 
and  see  how  the  expanded  score  and  the  condensed 
piano  part  agree. 

24 — Apply  the  transposing  exercises  given  in 
Chapter  XV  to  the  actual  score  now  before  you. 

It  requires  considerable  time  and  energy  to 
assemble  a  score,  and  while  it  is  not  necessary  to 
make  a  score  for  every  piece  your  orchestra  is  play- 
ing, it  is  worth  while  to  make  two  or  three  scores 
for  the  practice  of  assembling  the  parts,  and  the 
insight  that  is  thus  gained  in  the  closer  acquaint- 
ance with  and  knowledge  of  each  separate  part  for 
each  individual  instrument. 


CHAPTER   XV 

TRANSPOSITION 

The  transposing  instruments  are  the  clarinets, 
cornets  and  horns.  The  alto  clef  for  viola  is  also 
confusing  to  students  whose  fundamental  train- 
ing has  been  on  the  piano. 

The  'cello,  trombone  and  bassoon  parts  are 
sometimes  written  in  the  tenor  clef  in  difficult  and 
classical  music  used  by  professionals.  While  it 
is  not  frequently  met  with  in  selections  used  by 
amateurs  and  school  players,  it  is  advisable  to 
have  some  acquaintance  with  this  clef,  in  order 
to  retranspose  the  parts,  if  necessary. 

A  few  exercises  are  given  to  assist  the  student  in 
becoming  familiar  with  the  principles  of  orchestral 
transposition.  After  completing  these  exercises, 
take  any  orchestra  selection,  apply  the  rules  given 
to  the  material  to  be  used,  and  study  many  differ- 
ent selections  to  master  the  difficulties. 

This  is  by  no  means  a  hopeless  undertaking  for 
the  amateur  and  it  requires  only  a  great  deal  of 
practice  to  secure  speed  and  assurance  in  thinking 
the  correct  notation  for  a  transposing  instrument 
from  a  given  pitch  or  from  a  given  notation,  to 
know  the  resultant  sound. 

The  problem  in  brief  is  (1)  how  will  the  music 
as  written  sound?  (2)  If  it  is  to  sound  in  unison 
with  the  piano,  how  must  it  be  written  to  secure 
the  required  tone  by  the  instrument? 

154 


TRANSPOSITION*  155 

Cornets  and  clarinets  are  built  in  two  keys, 
B-flat  and  A.  The  composer  or  arranger  always 
designates  which  is  to  be  used,  governed  by  the 
key  in  which  the  composition  is  written.  Most 
band  music  is  written  or  arranged  in  flat  keys  so 
the  B-flat  cornet  and  clarinet  are  used,  In 
orchestra  music,  the  sharp  keys  are  more  fre- 
quently used,  demanding  the  A  clarinet  and  the 
cornet  in  A  (with  a  slide  or  quick  change). 

Instruments  take  their  pitch  name  from  the 
key  in  which  they  are  built. 

If  you  play  the  C  scale  on  the  B-flat  clarinet 
or  cornet  it  will  correspond  in  pitch  to  the  B-flat 
major  scale  on  the  piano,  and  if  you  play  the  C 
scale  on  the  A  clarinet  or  on  the  cornet  changed 
to  A,  it  will  correspond  to  the  A  major  scale  on  the 
piano. 

If  you  play  the  C  scale  on  the  horn  in  F,  it  will 
be  the  same  pitch  as  the  F  major  scale  on  the  pi- 
ano. With  the  horn  in  E-flat,  play  the  C  scale  and 
it  will  be  the  same  pitch  as  the  E-flat  major  scale 
on  the  piano. 

The  printed  music  always  states  which  instru- 
ment is  to  be  used. 

Long  established  custom  has  decreed  that  the 
composer  should  transpose  the  parts  to  be  played 
by  the  transposing  instrument  and  the  conductor 
must  transpose  it  back  to  the  original  key  in  order 
to  play  it  on  the  piano. 


The  B-flat  clarinet  or  cornet,  being  built  in 
B-flat,  sounds  the  scale  of  B-flat  of  the  piano  when 
the  C  scale  is  played.  The  notation  or  printed 
music  which  represents  this  pitch,  is  written 


156        PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

as  the  scale  of  C.     The  actual  sound,  then,  is  one 
tone  lower  than  the  printed  note. 

If  it  is  written,  how  will  it  sound?  One  tone 
lower. 

RULE  I- 

For  all  B-flat  treble  instruments  the  sound 
heard  is  one  tone  lower  than  the  printed  note. 
The  tones  of  the  clarinet  in  B-flat  sound  one  whole 
tone  lower  than  they  are  notated ;  and  those  of  the 
clarinet  in  A  sound  a  minor  third  (three  half- 
tones) lower  than  notated. 

B-FLAT  CLARINET  OR  CORNET 

The  printed  music  will  sound,  when  played,  one 
tone  lower  than  as  printed. 

Sounds 


ft  Written         t         t fl  Sounds 


Work  out  the  exercises  given  in  Group  I,  page 
158.  Take  a  hymnal  and  write  all  the  soprano  and 
alto  parts  one  tone  lower,  or  the  second  reader  of 
some  school  music  course  and  write  all  the  songs 
and  exercises  one  tone  lower. 

If  the  signature  of  the  part  is  in  the  key  of  D 
and  is  played  as  written  by  a  B-flat  instrument, 
it  will  sound  one  tone  lower  or  in  C;  if  E-ftat  it  will 
sound  in  D-flat;  if  F  in  E-flat;  if  G  inF.  Write 
using  signature  and  without  signature,  indicating 
exact  pitch  with  sharps  and  flats. 


TRANSPOSITION 


157 


RULE   II— 

Write  the  part  to  be  played  by  all  B-flat  treble 
instruments  one  tone  higher  than  the  actual  sound. 


If  the  sound  desired  is: 
Sounds 


It  must  be  written  one  tone  higher 
Written 


If  it  sounds: — how  must  it  be  written?  One 
tone  higher. 

AY  rite  out  exercises  in  Group  II,  page  158. 

If  the  original  key  is  F,  write  the  part  for  a  B-flat 
instrument  in  key  G. 

If  the  original  key  is  E-flat,  write  the  part  for  a 
B-flat  instrument  in  key  F. 

If  the  original  key  is  A-flat,  write  the  part  for  a 
B-flat  instrument  in  key  B-flat. 

If  the  original  key  is  B-flat,  write  the  part  for  a 
B-flat  instrument  in  key  C. 

If  the  original  key  is  C,  write  the  part  for  a  B-flat 
instrument  in  key  D. 

When  the  clarinet  is  built  in  A  and  the  cornet 
is  changed  to  A,  the  tones  of  the  C  major  scale 
correspond  to  the  tones  of  the  A  major  scale  on  the 
piano.  The  notation  which  represents  this  pitch 
is  written  as  the  scale  of  C.  The  actual  sound 
then  is  a  minor  third,  one  step  and  a  half  lower 
than  the  printed  note. 


158        PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

GROUP  I 
CORNETS   OR    CLARINETS  IN  Bt 

Written  Sounds? 


r  rr 


r  f= 


r 


GROUP  II 
CORNET  OR  CLARINET  IN  BV 

Sounds  Written? 


TRANSPOSITION 


159 


RtJLE   III- 

For  all  treble  instruments  in  A  the  sound  heard 
is  a  minor  third  (one  step  and  a  half)  lower  than 
the  printed  note. 


Printed  for  instruments  in  A. 
Written 


i 


Will  sound  a  minor  third  lower. 
Sounds 


Written 


Write  out  the  exercises  in  Group  III,  page  100. 
If  written  for  A  clarinet  or  cornet,  how  will  it 
sound? — a  minor  third  or  (one  step  and  a  half) 
lower. 

Apply  this  rule  by  again  using  the  hymnal  or 
song  book  for  exercise  material. 


RULE  IV— 

Write  the  part  to  be  played  by  all  treble  A  in- 
struments a  minor  third  (one  step  and  a  half) 
higher  than  the  actual  sound. 


If  the  sound  desired  is: 
Sounds 


It  must  be  written  a  minor  third 
higher  for  all  instruments  in  A. 

Written 


•  Q  written  p 

¥^     **r  J  rm 


Sounds 


* 


Written 

J  •> 


•T 


& 


The  signature  of  the  original  key  will  become 
the  signature  of  the  key  a  minor  third  higher. 


160        PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 


GROUP  III 
CORNETS  OR  CLARINETS  IN  A 

Written  Sounds? 


TCHA;"OWSKY 


GROUP  IV 
CORNETS  OR  CLARINETS  IN  A 


Sounds 


Written? 


J3J3.JJlJ 


TCHAIKOWSKY 
Symphony,  N25  i 


3  g>  H     U  73  JJ  J  ^  I '  ^  j  J 


TCHAIKOWSKY 

Symphony,  N26 


4^ 


TRANSPOSITI(7.\ 


161 


\\  rite  out  the  exercises  in  Group  IV,  page  160. 
If  it  sounds,  how  written? — A  minor  third  higher. 

Use  hymnal  or  song  book  again.  Take  each 
exercise  as  the  actual  sound  desired,  and  write 
the  notation  for  instrument  in  A  one  step  and  a 
half  higher. 

Required  notation  to  produce  unisons  by  the  Clarinet  in  A,  in  B-flat  and  Piano. 

EXAMPLE  A 

Written  for 
Clarinet  in  A 


Written  for 
Clarinet  in  B!> 


Sounds  on  Piano 


Required  notation  to  produce  unisons  by  Cornets  in  A.  in  B-flat  and  Piano. 

EXAMPLE   B 

Written  for 
Cornets  or  Trumpets  in  B!> 


r    rr  '.r 


Written  for 
Cornets  or  Trumpets  in  A 


Sounds  on  Piano 


rrr 


162        PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

The  alto  clef  is  used  for  viola.  Middle  C  on  the 
piano  takes  a  new  position  on  the  staff: — and  the 
lines  and  spaces  read:— 


€  Middle 


The  object  of  the  transposing  clefs  is  merely  to 
avoid  leger  lines  in  parts  which  would  otherwise 
run  much  below  or  above  the  staff. 


(fo  I     I     I     I     I    I     I     I     I      II  is  written   I'fi  1  f  ^   J   J     I  f   J    P 

y  '.J-jjj  'J.  4J- 


Sharps  and  flats  of  the  signature  retain  the  same 
order,  but  have  a  new  location  and  are  sometimes 
inverted. 

Write  exercises  in  Group  V,  page  163. 

Get  the  Salon  Piece  for  orchestra  entitled  A 
Leaflet  by  Gruenwald,  published  by  Oliver  Dit- 
son  Company,  and  transcribe  the  viola  part  to 
and  on  the  second  violin  part,  remembering 
that  when  the  alto  or  viola  clef  is  used  the  third 
line  represents  the  pitch  of  middle  C.  When  the 
part  is  written  where  it  sounds,  it  will  be  quite  low 
requiring  many  leger  lines.  Place  the  notes  a 
little  to  the  right  of  the  printed  notes,  which  will 
afford  opportunity  for  comparison. 

Transfer  or  transcribe  two  or  three  viola  parts 
to  and  on  the  second  violin  parts  for  prac- 
tice. Also  play  the  part  separately  on  the  piano 
to  acquire  facility  in  reading  in  the  new  clef. 

The  tenor  clef  —  places  middle  C  on  the  fourth 
line.  Lines  and  spaces  read:— 


*  

*J  Middle    -6- 

l£                              !,»«••*•*- 

^  

1:  —  E  —  t.  —  D  —  p  —  II 

TRANSPOSITION 


163 


Actual  Pitch 


New  location  on  Staff 


is  written   jiff  J  f 


GROUP  V 

Sounds 
Rewrite  for  Violav  using  Alto  Clef 


Written? 


GROUP  VI 


Sounds 
Rewrite,  using  Tenor  Clef 


Written? 


*  Kewrue,  using  ic     ir  v,iei 


a^anr^ 


164        PUBLIC   SCHOOL    ORCHESTRAS    AND    BANDS 


Notation  showing  unisons  for  Tenor,  Alto,  Bass  and  Treble  or  G  Clefs. 

EXAMPLE  C 


Tenor  Clef 


AltctClef 


Bass 
or  F  Clef 


i 


.Middle  C 


Js?*31^        t    \ 
Treble       (fa  i 


or  G  Clef 


J  ^N  JJJ  * 


Either  clef  may  be  used  for  alto  or  tenor. 

r>    IUI  H      MiddleC: 


Middle  C 


Alto 


Tenor 


Tenor 


Rewrite  Group  VI,  page  163,  using  the  tenor  clef 
— middle  C  on  fourth  line. 


Horn  parts  always  cause  confusion  and  require 
study  and  practice  to  acquire  a  ready  and  sure 
acquaintance  with  the  notation  and  pitch. 

Ilorns  built  in  F  sound  the  F  scale  when  the 
C  scale  is  written. 


);      o 


J>0_ 


The  actual  sound,  then,  is  a  perfect  fifth  lower 
than  the  printed  note. 


TRANSPOSITIOX 


165 


Printed  music  will  sound  a  perfect  fifth  lower  for 
horns  in  F. 


Written 


A  Written  


Written 


Written 


Sounds 


RULE   V- 

For  horns  in  F,  the  sound  heard  is  a  perfect 
fifth  lower  than  the  printed  note. 

"With  regard  to  the  French  horns;  it  is  not 
customary  to  indicate  their  key  by  the  usual  key- 
signature  at  the  beginning  of  each  staff,  but  in- 
stead, to  use  accidentals  for  each  note,  where  re- 
quired, throughout  the  entire  composition.  An 
exception  to  this  rule  may  be  made  when  the 
composition  is  very  simple  in  its  modulations,  as 
for  example,  in  the  ordinary  military  march  and 
two-step." —(From  Instrumentation  by  Gaston 
Borch). 

Write  out  exercises  in  Group  VII,  page  166. 

If  written,  what  is  the  actual  sound?  A  perfect 
fifth  lower. 


166        PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

GROUP  VH 
HORNS  IN  F 

Written  Sounds? 


jit  if i    j  N     j  Hlfi     F 

«J  .jW- " 


GROUP  Yin 
HORNS  IN  F 


Sounds 


Written? 


f 


?|J    J  Jj"J  J  L>- 
"r     if^-^r  br 


TRANSPOSITION  167 

RULE   VI- 

Write  the  part  to  be  played  by  the  horns  in  F, 
a  perfect  fifth  higher  than  the  actual  sound. 

Write  out  the  exercises  in  Group  VIII,  page  166. 

If  it  sounds,  how  must  it  be  written? — A  perfect 
fifth  higher.  For  practice,  take  the  alto  and 
tenor  parts  of  hymn  tunes  and  transpose  them  a 
perfect  fifth  higher. 


RULE   VII- 

Horns  in  E-flat  are  more  generally  used  in  band 
music,  but  as  these  instruments  are  more  fre- 
quently found  in  the  schools,  the  horn  parts  are 
often  written  in  E-flat  instead  of  F. 

For  horns  in  E-flat,  the  sound  heard  is  a  major 
sixth  lower  than  the  printed  note. 


Written  A  Sounds 


Written 


If  written  for  horns  in  E-flat,  what  is  the  actual 
sound? — A  major  sixth  lower. 

Write  out  the  exercises  in  Group  IX,  page  168. 

Where  a  signature  is  used  for  the  written  part, 
take  the  signature  of  the  key  a  major  sixth  lov»er. 

Written  in  the  key  of  C — sounds  a  major  sixth 
lower.  Key  of  E-flat. 


168        PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

Written  in  the  key  of  D — sounds  a  major  sixth 
lower.     Key  of  F. 

Written  in  the  key  of  E-flat — sounds   a  major 
sixth  lower.     Key  of  G-flat. 

Written  in  the  key  of  F — sounds  a  major  sixth 
lower.     Key  of  A-flat. 


RULE  VIII 

For  all  horns  in  E-flat,  write  the  part  to  be 
played  a  major  sixth  higher  than  the  actual  sound. 
If  it  sounds,  how  must  it  be  written?  A  major 
sixth  higher. 


Jr 

g> 


Written 


GROUP  DC 
HORNS  IN  0» 


Sounds? 


j  ^J.  l*nJ:  N'l 


*±F4 


|       r 

r  ^ 


TRANSPOSITION 

CROUP  X 

HORNS  IN  E!> 


169 


Sounds 


Write  exercises  in  Group  X. 
Write  the  parts  in  the  treble  clef. 


If  the  horn  parts  are  written  in  E-flat  and  the 
instruments  available  are  horns  in  F,  transpose 
the  parts.  Horns  in  E-flat  sound  a  major  sixth 
lower,  horns  in  F  sound  a  perfect  fifth  lower  than 
written,  a  difference  of  one  whole  step.  Make  a 
manuscript  copy,  transposing  the  entire  horn  part 
one  whole  step  lower. 


Horns  in  El,  -ffi  $  f"  « JlJ  J    I  J  J  fl 

iV   *  i     ;     I    '  r  I 


Horns  in  F 


170        PUBLIC   SCHOOL   ORCHESTRAS    AND    BANDS 

If  the  horn  parts  are  written  in  F  and  the  in- 
struments available  are  horns  in  E-flat  transpose 
the  entire  horn  part  one  whole  step  higher. 


-£T- 

Horn"   in   P     /5L  •• 

- 

a 

^  ^.  • 
—  i  i 

~-^«^^ 
—  -^^  —  i 

"  t 

r 

^ 

—  h1 

Yf 

^r4 

Transpose  a  whole-step  higher  for 

Horns  in  El>  (fo  V^ 


Horn  parts  are  sometimes  printed  in  /),  when 
the  actual  sound  is  a  minor  seventh  lower  than  the 
printed  note. 

The  principle  is  the  same  as  given  in  Rule  V 
and  VII,  except  that  the  transposition  is  still 
lower,  a  minor  seventh. 

Write  the  note  to  be  played  a  minor  seventh 
higher  than  the  actual  sound. 

If  the  horns  in  D  are  to  be  transposed  for  horns 
in  E-flat  write  in  the  entire  part  one  half-step 
lower;  for  horns  in  F,  a  minor  third,  or  one  step 
and  a  half  lower. 

The  following  examples,  page  172,  Groups  XI 
and  XII,  will  illustrate  how  the  same  passage  writ- 
ten for  horns  in  F  (Example  1),  for  horns  in  E-flat 
(Example  2),  for  horns  in  D  (Example  3)  appears 
in  notation  as  compared  with  the  original  actual 
sound  on  the  piano  (Example  4) . 

Applying  the  suggestions  made  in  the  foregoing 
paragraphs  :— 

(1)  If  the  part  is  written  for  horn  in  E-flat  and 
is  to  be  transposed  for  horn  in  F  wrrite  it  one 


TRANSPOSITION  171 

whole-step  lower,  or  the  difference  between  a 
major  sixth,  and  a  perfect  fifth  (compare  Example 
2  with  1);  for  horn  in  D,  a  half-step  higher  (com- 
pare Example  2  with  3). 

(2)  If  the  printed  part  is  for  horn  in  F  and  is 
to  be  transposed  for  horn  in  E-flat,  write  the  entire 
part  one  wrhole-step  higher.     (Compare  Example 
1  with  2);    for  horn  in  D,  a  minor  third    higher 
(compare  Example  1  with  3). 

(3)  If  the  printed  part  is  for  horn  in  D  to  be 
transposed  for  horn  in  E-flat  write  it  one  half- 
step  lower  (compare  Example  3  with  2) ;  for  horns 
in  F  write  it  a  minor  third  or  one  step  and  a  half 
lower.     (Compare  Example  3  with  1)  and  apply 
suggestions. 

Take  the  first  four  measures  of  Onward  Christian 
Soldiers  and  wrrite  the  alto  and  tenor  parts  for 
horns  in  F,  E-flat  and  D.  Compare  and  apply 
the  suggestions. 

In  order  to  prove  your  transpositions,  before 
submitting  them  to  the  player,  find  the  horn  parts 
in  the  piano  accompaniment,  and  compare  the 
actual  sound  with  the  new  notation. 


GROUP    XI 
Written  for  Horns  in  P 


Written  for  Horns  in  Et> 


Written  for  Horns  in  D 


3» 


Original  =  Actual  jiound  on  the  Piano 


I*    i  a*  "f  F  a«    i  «  y 


Required  notation  to  produce  unisons  by  Horns  in  D,  E-flat,  .Fand  Piano. 
GROUP  XII 

Written  for  Horns  in  D 


Written  for. Horns  in  El> 


T^ 

=  =$=? 

^ 

L     1  1    =FF     1     « 

,)  >  i 

f* 

-f-M 

=*=)=  =tt=t=f 

P 

Written  for  Horns  in  P    . 

.  0    , 

.t     i      J 

= 

1  :  ^    ||l  ^ 

j  i  j  M 

*J 

4r  r 

1  r  P  '   1=F:=:t 

-1 

»  \»  ft 

So 

ands  on  Piano 

f= 

|J.     J^J      |J 

r= 

m 

H=f=l 

f 


172 


CHAPTER   XVI 
How  TO  MAKE  A  CONDUCTOR'S  PART 

The  first  violin  part  is  used  as  the  conductor's 
part  and  most  of  the  important  melodies  or 
secondary  parts  are  cued  or  written  in. 

Sometimes  the  piano  part  is  to  be  preferred  to 
the  first  violin.  Study  and  compare  in  regular 
order  all  the  parts  with  the  first  violin  inserting 
with  small  notes  in  red  ink  such  solo  parts  as  should 
be  cued  in.  Take  the  Pique  Dame  Overture  by 
Suppe,  as  a  study. 

The  first  violin  part  is  excellently  cued.  The 
entrance  of  the  horns  and  the  drums  is  important. 
All  the  counter  melodies  and  solo  parts  are  indi- 
cated. The  horns  enter  in  the  fourth  measure. 
Write  in  the  actual  pitch.  This  will  necessitate 
transposing  the  part  a  perfect  fifth  lower,  or  in- 
serting the  pitch  of  A,  second  added  line  below  the 
staff,  as  a  whole  note;  in  measure  eight,  C  sfiarp 
first  added  line  below  the  staff,  and  in  measure 
nine,  the  horn  part  is  already  suggested.  Only 
indicate  the  very  important  parts,  at  the  most 
important  places. 

It  is  necessary  to  cue  in  the  drums  in  overtures 
or  semi-classical  music,  in  which  they  are  not  used 
so  continuously  as  in  marches. 

A  few  short-hand  marks  are  suggested,  which 
will  serve  to  remind  the  leader  when  the  drums 
enter  and  how  long  they  play.  (Use  a  red  lead- 
pencil  or  red  ink  for  all  cue  marks). 

173 


174         PUBLIC   SCHOOL   ORCHESTRAS   AND   BANDS 

(1)  For  a  one  beat  accent — a  short  heavy  dash. 
(As  in  measure  9  and  23).     _   _  _ 

(2)  For  a  short  phrase. 

(3)  A  long  phrase  mark,  which  indicates   the 
exact  entrance  and  end.    (As  in  measure  53,  54,  55). 

153  154  155 


1234       1234       1 

For  a  very  long  passage  requiring  continuous 
playing,  indicate  the  beginning  of  the  playing, 
by  a  down  stroke  and  wavy  line.  Approaching 
the  end  of  the  passage,  use  the  wavy  line  for  two 
measures  finishing  in  a  down  stroke  at  the  end  of 
the  passage,  thus  eliminating  the  excessive  marking 
of  the  music  for  so  many  measures. 


These  three  abbreviations  will  suffice  to  indi- 
cate the  drum  part  in  general. 

It  is  well  not  to  obscure  the  conductor's  part 
by  too  many  marks.  Use  only  enough  to  assist 
you  in  making  your  cues  of  service  to  the  players. 
The  full  score  used  by  the  symphony  conductor 
contains  all  the  parts  written  out,  which  affords 
him  opportunity  of  knowing  what  each  instrument 
and  each  performer  should  play.  The  reading  of 
such  a  score  is  very  difficult.  However,  as  the 
less  difficult  music  performed  by  amateurs  is  not 
printed  in  score  form,  it  is  necessary  either  to  make 
a  score  by  assembling  all  the  parts,  or  else,  elim- 
inating this  excessive  labor,  simply  to  indicate 
such  additional  cues  as  will  assist  the  leader  in 
directing  the  composition  effectively. 


CHAPTER  XVII 

SUMMARY 

Instrumental  work  in  the  public  school  system 
depends  upon  three  essentials.  First,  it  is  ab- 
solutely necessary  that  the  unusual  instruments 
for  the  band  and  orchestra  should  be  supplied  to 
the  children,  either  through  concerts  given  by  the 
individual  schools  to  raise  funds  for  securing  them 
or  through  the  Board  of  Education.  Second,  it  is 
only  when  the  work  begins  in  the  lower  grades  of 
the  elementary  schools  and  is  carried  through  the 
high  schools,  that  any  continuity  of  instruction 
can  be  secured  or  any  degree  of  skill  on  the  part 
of  the  pupils  be  expected.  Third,  the  only  positive 
guarantee  that  the  work  in  instrumental  music 
will  be  well  done  or  receive  public  recognition  as 
being  worth  while,  is  that  the  instruction  be  given 
by  special  teachers  of  instrumental  music,  who  are 
themselves  able  to  play  the  string,  brass,  and  reed 
instruments. 

The  Oakland  Board  of  Education  has  employed 
eight  special  teachers  of  instrumental  music  to 
instruct  the  pupils  in  the  grade  schools.  It  has 
also  employed  four  teachers  of  instrumental  music 
in  the  high  schools.  All  these  teachers  not  only 
play  string,  brass,  and  reed  instruments,  but  are 
qualified  to  give  instruction  upon  all  the  instru- 
ments of  both  band  and  orchestra. 

The  three  ideas  mentioned  before,  those  of 
beginning  the  work  in  the  grade  schools,  of  sup- 
plying the  unusual  instruments,  and  of  employing 

175 


176        PUBLIC   SCHOOL   ORCHESTRAS   AND   BAXDX 

special  teachers,  have  all  been  adopted  in  the 
Oakland  Public  Schools.  To  meet  the  second 
demand,  the  Board  of  Education  supplied  a  num- 
ber of  rarer  instruments  at  an  approximate  cost 
of  $5,000  and  placed  them  in  those  schools  already 
having  the  nucleus  of  a  band  or  an  orchestra. 

The  instruments  purchased  by  the  Board,  all 
of  which  are  in  use,  are  as  follows :  twenty -five 
basses,  twelve  altos,  fourteen  mellophones,  a 
double  quartet  of  saxophones,  eight  Fluegel  horns, 
two  trumpets,  ten  French  horns,  five  oboes,  five 
bassoons,  one  piccolo,  ten  string  basses,  bells  and 
tympani,  five  'cellos,  three  trombones,  and  eight 
violas.  Requests  are  constantly  being  received 
for  more  of  these  instruments. 

The  special  teachers  have  at  least  five  schools 
a  week  and  teach  from  eight  in  the  morning  until 
four  in  the  afternoon.  They  give  individual  les- 
sons of  from  fifteen  to  twenty  minutes'  duration 
to  all  the  pupils  they  can  meet.  They  average 
between  twenty  and  twenty-five  lessons  a  day, 
or  one  hundred  and  thirty  lessons  a  week.  The 
size  of  classes  in  which  violin  instruction  is  given 
rarely  exceeds  five  pupils.  While  it  is  frequently 
argued  that  pupils  can  be  taught  violin  in  larger 
classes,  it  has  been  the  practice  of  the  Department 
of  Music  in  the  Oakland  Schools  to  instruct  a 
smaller  number  at  a  time,  to  feel  assured  that  those 
pupils  are  receiving  better  training  than  they 
would  in  a  larger  class. 

Broadly  speaking,  one  idea  is  dominant,  that  the 
pupil  acquire  a  musical  education.  If,  when  he 
comes  to  selecting  a  vocation,  music  is  his  choice, 
then  the  training  which  he  has  received  in  the 
public  schools  will  have  been  of  such  a  character, 
that  he  will  be  able  to  continue  his  studies  and 


SUMMARY  177 

have  nothing  to  undo  on  account  of  his  previous 
instruction. 

For  those  pupils,  then,  who  choose  music  as  a 
vocation,  the  training  will  be  complete,  as  far  as 
they  go.  Those  who  enjoy  music  only  as  a  matter 
of  recreation  will  have  received  sufficient  instruc- 
tion to  instil  in  them  an  appreciation  of  the  best 
that  music  offers,  and  above  all,  to  enable  them 
to  participate  actively  in  the  performance  of  good 
music. 


CHAPTER  XVIII 
LIST  OF  MUSIC  FOR  FULL  BAND 

Grade — 1.  Easy,       2.  Medium,       3.  Difficult 
Addresses  of  Publishers  are  given  on  page  195. 

1.  EMIL  ASCHER,  New  York 

The  Ascher  Band  Book  No.  1 3 

2.  C.  L.  BARNHOUSE,  Oskaloosa,  la. 

Educator  Band  Books  1 

March — Boy    Scouts    r 2 

Director   General    2 

Colossus  of  Columbia  3 

The  Victor   1 

3.  JOHN  CHURCH  Co.,  Cincinnati 

Indian  War  Dance   (good)    Bellstedt  1 

Overture    Rhinefels  2 

U.  T.  D.  Band  Books  (good)   1 

4.  OLIVER  DITSON  COMPANY,  Boston 

Antony   and   Cleopatra Gruenwald  3 

Chorus  of  Romans  Massenet  3 

Dancer  of  Bagdad,  The  Langey  3 

Gems  from  "Maritana"  (good) Wallace  2 

Grand  Military  Fantasia  Rollinson  3 

March — Across  the  Hot  Sands  Cobb  3 

Heart  of  America  Rollinson  3 

K  D  K  A  Fulton  3 

Outlaw,   The    Bennet  3 

178 


LIST  OF  BAND  MUSIC  AND  BOOKS  179 

March — Overseas  Lowe  3 

Soldiers  of  the  Air   Fulton  3 

Miserere  from   "Trovatore"   2 

Overture — Asmodeus    Rollinson  2 

Cavalier  Rollinson  2 

Crusader,  The  Rollinson  3 

Golden  Magnet  Bennet  2 

Manrico  Bennet  1 

The  Naiad  Queen  (requires  good 

clarinet)     Rollinson  3 

Selection — Chimes   of    Normandy Planquette  2 

Daughter  of  the  Regiment.... Donizetti  2 

The  Handy  Band  Book  3 

5.     FILLMORE  Music  HOUSE,  Cincinnati 

Humoresque — The  Girl  I  left  behind  me 3 

March — American  Soldier   2 

Gettysburg     1 

Old  Black  Joe  2 

Old  Oaken  Bucket  2 

Peace  and  prosperity  2 

Rocked  in  the  cradle  2 

Show  boy   2 

Squealer    2 

Three  rings  1 

Overture — Arbitration  2 

Garden  of  Eden  2 

Gypsy  Festival  2 

Inspiration     2 

The  North  Pole  2 

Patrol— The  Night  Riders  2 

Polka — Gaiety   (Baritone  solo — good)    2 

Merriment  (for  3  Bb  Clarinets) 

^/Selection — Bohemian  Girl  Balfe  2 

Carmen  Bizet  2 


180         PUBLIC  SCHOOL  ORCHESTRAS  AXD  BANDS 

Selection — Faust  Gounod  2 

Martha  Flotow  2 

Tannhauser  (good)  Wagner  2 

Trovatore  (little  harder)  Verdi  2 

Serenade — The  Lovers    1 

6.  CARL  FISCHER,  New  York 

Caprice — Whistler  and  his  Dog Pryor  0 

March — Capt.  Anderson  Brockenshire  2 

Pass  in  Review Gimpel  3 

Semper  Fidelis  Sousa  3 

The  Thunderer    Sousa  3 

Operatic  Reminiscences Seredy  and  Tocaben  2 

Overture — College   Tobani  2 

Light  Cavalry  (Simplified  Ed.)  Suppe  2 

Selection — Songs  from  the  Old  Folks  Lake  3 

Sextette — Lucia   Donizetti  2 

7.  WALTER  JACOBS,  Boston 

March — A  Frangesa  Costa  1 

General  Mixup  Allen  3 

La  Sorella  Borel-Clerc  2 

National  Emblem  Bagley  2 

Overture — Lustspiel  Keler  Bela  2 

\^  Northern  Lights  Weidt  2 

8.  J.  W.  JENKINS  &  SONS,  Kansas  City,  Mo. 

Advanced  Band  Book  2 

Beginner's  Band  Book  1 

Humoresque  Wheeler  2 

9.  FRED  JEWELL,  Worthington,  Ind. 

March — Armistice   Day   Parade Wells  2 

Imperial  Council  Jewell  2 

Pageant  of  Progress Jewell  2 

Sons  of  the  Flag Rosenkrans  2 

Trumpets    of   Victory Jewell  2 


LIST  OF  fiAXI)  .1/rx/r  .LV/>  HOOK*  181 

Overture — Cloth  of  Gold Jewell  2 

Golden  Sunset  Barnard  2 

Lone  Star- Jewell  1 

Scarlet  Kind  Jewell  1 

10.  J.  W.  PEPPER  &  SON,  Philadelphia 

Hunting  scene,  The  I  Descriptive)    Bucalossi  2 

Idyll — The  Forge  in  the  Forest  Michaelis  3 

Imperial  Band  Book  Evans  1 

Jennie  Polka — Cornet  duet    (good,  easy) 1 

March — Across  the  Isthmus  Evans  1 

Americus  Club  Broun  2 

Assemblyman,  The  Evans  1 

Barnstormer,  The  Brown  2 

Battleship  North   Dakota     Mackie-Beyer  3 

Dixie-Maryland    Mackie-Beyer  .2 

Drummer  boy,  The                            Brown  2 

Golden  Gate,  The  Brown  2 

Greater  America  Frock  1 

Medley  March — (Old  favorites)    1 

National   Cadets    Brown  1 

National  Guard  Mackie-Beyer  2 

Republic,  The  Brown  I 

Seventh  Regiment  Evans  2 

Medley — Gems  from  the  Overtures  (needs  good 

flute)    Mackie-Beyer  3 

0  Sole  Mio  Di  Capua  2 

Reverie — Devotion  Mackie-Beyer  1 

Love's  Sweet  Dream  Mackie-Beyer  1 

Moonlight  in  Venice           Mackie-Beyer  1 

Sylvan  Echoes  (easy  and  effective)   1 

Toreador's  song — Carmen  (solos  for  baritone) 
Bizet  2 

11.  JEROME  H.  REMICK  &  Co.,  Detroit 

March — Sunny  South  Lampe 

Medley — Daughters  of  Revolution  Lampe  2 


182         PUBLIC  SCHOOL  ORCHESTRAS  AND  BANDS 

LIST  OF  ORCHESTRA  MUSIC 
(FOR  FULL  ORCHESTRA  AND  PIANO) 

1.  Easy — 1st  position.  2.  Moderately  difficult — 3rd  position. 

3.  Difficult — 3rd  position  and  above. 

Grade — 1.  Easy,         2.  Medium,          3.  Difficult 
Addresses  of  Publishers  are  given  on  page  195. 

1.  EMIL  ASCHER,  New  York 

Pilgrim's  Chorus  from  Tannhauser,  in  E[? — 

Wagner     3 

2.  BOOSEY  &  Co.,  New  York 

March — Pomp  and  Circumstance  Elgar     3 

Selection — Madam  Butterfly — (Arr.  by  Edgar 

Godfrey)   Puccini     3 

3.  JOHN  CHURCH  Co.,  Cincinnati 

The  Imperial  Concert  Collection  (good)    2 

4.  OLIVER  DITSON  COMPANY,  Boston 

Amateur  Orchestra  Folio  3 

Arabian  Nights  Suite  Gruenwald  2 

At  Dawning  and  The  Heart  of  Her Cadnian  1 

Ballet  Music  from  "Faust"  Gounod  3 

Boston  Concert  Orchestra  Folio  1 

Butterflies  Huerter  3 

Chanson  de  Noel  Beaumont  3 

Cozy  Time  O'Hare  3 

Ditson  Concert  Orchestra  Folio  3 

Drowsy  Afternoon,  A Lemont 

Elfin  Dance  Borch  2 

Fantasia — Campus  Echoes  Rollinson  1 

Fifth  Nocturne  Leybach  3 

Flower  Song — A  Bunch  of  Violets  Bennet  1 

In  the  Seraglio  Cazaneuve  2 


LIST  OF  ORCHESTRA  MUSIC  183 

In  Toneland  (Easy  Collection)   2 

Invocation  Chorus  and  March  from  "lolanthe" 

Sullivan  2 

Land  of  Delight  O'Hare  3 

March — College  Memories  Rollinson  2 

Festival  Mendelssohn  2 

Hearts  of  Oak  Harold  1 

Laurel  Branch,  The  Rollinson  1 

Mercedes  Rollinson  2 

One  Flag  for  All  Rollinson  1 

Saddle  and  Sabre  Bennet  1 

Soldiers  of  the  Air  Fulton  2 

Pride  of  Columbia  Bennet  2 

With  the  Colors  Panella  2 

Melody  in  F  Rubinstein 

Novellette — Springtime    Atherton  2 

Ole  Uncle  Moon  Scott  2 

Operatic  Echoes  Gruenwald  2 

'Overture — Black  Diamond  Gruenwald  1 

Cavalier,  The  Rollinson  2 

Colonia  O'Hare  1 

Crusader,  The  Rollinson  3 

Frolics  of  Cupid  Gruenwald  2 

Light  Brigade,  The  Gruenwald  1 

Lustspiel  Keler  Bela  2 

Manrico    Bennet  1 

Oberon  Weber  3 

Overtures,  Twelve   3 

Ten  Light  2 

Parade  of  the  Dolls  Gruenwald  2 

Patrol  of  the  Red,  White  and  Blue  Rollinson  2 

Piccolo  solo — White  Blackbird  Gruenwald  3 

Russian  dance — (Requires  good  piccolo)   Glinka  3 

Salon  Piece — A  Leaflet  Gruenwald  2 

Selection — Ernani    Verdi  3 

Faust   (excellent)    Gounod  3 

Fra   Diavolo    Auber  3 

Martha   .                                       Flotow  2 


184         PUBLIC  SCHOOL  ORCHESTRAS  AND  BANDS 

Selection — Gems  from  Maritana  Rennet  2 

Rigoletto  Verdi  3 

Song  at  Sunrise  Manney  2 

Southern  Tone  Poem  Hosmer  3 

Standard   Waltz   Album   3 

Suite — Antony  and  Cleopatra  Gruenwald  3 

Hero  and  Leander  Gruenwald  3 

Waltz — Incognito   Bennet  2 

What  Says  the  Brook  Boehnlein  3 

Zorina   Anthony  3 

5.  FILLMORE  Music  HOUSE,  Cincinnati 

March — American,  The Hayes  2 

Cincinnatus  Vandercook  1 

Dusty  Trombone  Fillmore  2 

Friendship  Talbot  1 

Noble  Men  Fillmore  2 

Peace  and  Prosperity  Hayes  1 

Peerless,  The  Huff  2 

Selection — Bohemian  Girl   Balfe  2 

6.  CARL  FISCHER,  New  York 

Adoration    Borowski  2 

Album  Leaf  Wagner  2 

Amateur  Church  Collection  Books  Nos.  I,  II, 
III,  IV  (contain  good  selections  well  ar- 
ranged, not  difficult)  

Ballet  Egyptienne  Luigini  3 

Ballet  Symphonic — Callirhoe  Chaminade  3 

Bridal  Chorus   Wagner  3 

Concert  Folio — (Vols.  I  and  II  contains  play- 
able pieces)  

Dance  of  the  Crickets  Seredy  1 

Dance  of  the  Goblins  Engelmann  1 

Desert  Suite Grunn  3 

Echoes  of  the  Volga  Seredy  1 

Fantasia — Echoes    from    the    Metropolitan 

Opera — (difficult)    Tobani  3 

Gems  from  Stephen  Foster  (good) 2 


LIST  OF  ORCHESTRA  MUSIC  185 

Fantasia — Grand  American — America  Forever 

—  i  difficult  i       Tobani  3 

Opera  Mirror,  The—  ( difficult ) 

Tobani  3 

Favorite  Concert  Album  3 

Hungarian  Dances  7  and  8  ...4 Brahms  2 

Idyll — Mill  in  the  Forest  Eilenberg  2 

In  a  Bird  Store  Orth  3 

In  Melody  Land  Seredy  1 

Madrigale    Simonetti  2 

March — Ai'da  Verdi  2 

Aux  Flambeaux   Clarke  2 

Coronation  Meyerbeer  3 

Marche  et  Cortege — The  Queen  of  Sheba 

Goldmark  3 

March — Flag  Day  Schramm  2 

March  from  "Lenore"  Symphony  Raff  3 

March — Funeral  March  of  a  Marionette — (Vio- 
lins in  first  position)    Gounod  2 

March — Militaire  Schubert  3 

War  March  from  "Athalie"  Mendelssohn 

Melodic,  Les  Adieux  Sarasate  2 

Minuetto  Giojoso  Mozart  1 

Moment  Musical — (Good)    Schubert  2 

Morceau  Caracteristique — Pan  American — (Dif- 
ficult)     Herbert  3 

Overture — Apollo  Tobani  2 

Benefactor,   The   Heed  2 

Caliph  of  Bagdad  Boildieu  3 

College Tobani  3 

Desdemona   Schlepegrell  2 

Fair  Maid  of  Perth Widdel  1 

Golden  Gate  Bendix 

Golden  Scepter  Schlepegrell 

"            Mirella  Gounod  3 

Tancredi  Rossini  3 

Overtures,   Album  of — Vol.   II   Contains  seven 

or  eight  playable  numbers  

Pizzicato  Polka  from  "Sylvia"  Delibes  3 


186    PUBLIC  SCHOOL  ORCHESTRAS  AND  BANDS 

Selection — Bohemian  Girl  Balfe-Tobani  3 

Faust — (Difficult)    Gounod  3 

Tannhauser   Wagner  1 

William  Tell  Rossini  1 

Soldiers'  Chorus  from  "Faust"  Gounod  3 

Spanish  Dance  Engelmann  1 

Springtime  Valse  Saenger  1 

Suite — Peer  Gynt — (Difficult)   Grieg  3 

Symphony — Jupiter  Mozart  3 

Surprise    Haydn  3 

"  Unfinished    Schubert  3 

Valse  Lento  from  "Sylvia"  •..  Delibes  3 

Waltz — Santiago    Corbin  2 

Whistling  Johnnies  Mares  2 

7.     WALTER  JACOBS,  Boston 

Angelus — From   "Scenes   Pittoresques".. Massenet  2 

Au  Matin  Godard  1 

Chanson  Sans  Paroles  Tchaikovsky  2 

Darkies'  Dream  Lansing  2 

Humoresque  Dvorak  2 

King  Midas  Eilenberg  2 

La  Lisonjera  Chaminade  2 

Lucia  de  Lammermoor  Donizetti  2 

March — Circus  Maximus  Samuels  3 

Commander,  The   Hall  2 

A  Frangesa  Costa  2 

Horse  Marines  Allen  2 

Monstrat  Viam  Joy  2 

Naval  Parade  Allen  2 

Overture — Gloriana — (Excellent)    Weidt  1 

— Raymond  (good  arrangement )  Thomas  3 

Polish  Dance  Schanvenka  2 

Selection — Carmen  Bizet  3 

Spanish  Intermezzo — Pearl  of  Pyrenees  ....Frank  2 

Waltzes — Blue  Danube  Strauss  2 

Dream  Kisses  Rolfe  2 

Magic  Night — (good)    Hildreth  1 


LIST  OF  ORCHESTRA  MUisIC  187 

Waltzes— Maid  of  Madrid  Hildreth  2 

Third   Degree,   The — (good) Bendix  1 

8.  J.  W.  JENKINS  &  SONS,  Kansas  City,  Mo. 

Jenkins'  Beginners'  Orchestra  Books 1  and  2 

9.  FRED  JEWELL,  Worthington,  Ind. 

Full  Orchestra  and  Piano 

March — Legion  of  Honor  Jewell  1 

Imperial  Council  Jewell  2 

Shrine  of  Liberty  Jewell  2 

Novelette — A  Fireside  Tale  Eisenberg  2 

10.     J.  W.  PEPPER  &  SON,  Philadelphia 

Champion   Orchestra   Collection 1 

Idyll— The  Mill  in  the  Forest Eilenberg  1 

Intermezzo — Cavalleria  Rusticana Mascagni  1 

Largo  Handel  1 

March — Across  the  Isthmus  Evans  1 

California  Commandery  Brown  2 

Drummer  Boy  Brown  1 

New  Ideal  Brown  2 

March — Republic,  The  Brown  1 

Trocadero   Pryor  2 

Meditation — The  Dying  Poet —  ( good )    Gottschalk  1 

Medley — Gems  from  the  Overtures  Mackie-Beyer  3 

Overture — Consecration — (good)    Keler-Bela  2 

Gems  of  Ireland  Bowman  2 

Patriotic    Bowman  1 

Rocked  in  the  Cradle  of  the  Deep Knight  1 

Russian    Mazurka — La    Czarine — (no    oboe    or 

bassoon — easy)    Gctnne  2 

Selection — Dollar  Princess   Fall  1 

Merry  Widow,  The Lehar  1 

Tannhauser  Wagner  3 

Temple  Orchestra  Collection  1 

Waltzes — Impassioned  Dream   Rosas  1 

La  Serenata  Jaxone  2 

Loin  Du  Bal  ..  Gil  let 


188         PUBLIC  SCHOOL  ORCHESTRAS  AND  BANDS 

11.  JEROME  H.  REMICK  &  Co.,  Detroit 

Waltz— Wedding  of  the  Winds  Hall     3 

12.  G.  SCHIRMER,  INC.,  New  York  City 

College  life — American  Student  Songs — (rather 

difficult)    Longer  3 

Country  dance  Nevin  3 

Selection — Robin  Hood  DeKoven  3 

SCHOOL  AND  COMMUNITY  ORCHESTRA 

1.  C.  C.  BIRCHARD  &  Co.,  Boston 

The  Laurel  School  Orchestra 

1.     The  Album  Robert  Schumann     1 

i^2.     The  Happy  Wanderer  Adolf  Jensen     2 

3.  Twilight  Anton  Rubinstein     3 

4.  In  the  Woods,  from  Scenes  Poetiques,  Op.  46 

Benjamin  Godard     3 

5.  On   the   Mountain,    from    Scenes    Poetiques, 

Op.  46  Benjamin  Godard     3 

6.  (a)      Entr'acte  and  (b)  The  Bells,  from 

The  Bells  of  Beaujolais  

^     Louis  Adolphe  Coerne  2 

\^l.     Mazurka,  Op.  68,  No.  3 Frederic  Chopin  1 

8.      (a)   Norwegian  Serenade,  Op.  19,  No.  2 

Ole  Olesen  2 

(b)  Matrosenlied,  Op.  68,  No.  1 

Edvard   Grieg  2 

vX9.     Ethiopian  Dance,  from  Sylvia.... Leo  Delibes  3 

10.  Romance  Wassili  Wrangel  3 

11.  (a)  Miniature,  Op.  8,  No.  2  A.  Goedicke  1 

(b)  Menuet  Ancien,  Op.  15,  No.  10  N.  Amani  1 

2.  OLIVER  DITSON  COMPANY,  Boston 
Easy  Edition  for  Orchestra 

1.  Salutation,  Grand  March  ...T.  H.  Rollinson     1 

2.  Up  with  the  Flag,  March C.  W.  Bennet     2 


LIST  OF  SCHOOL   ORCHESTRA  MUSIC  189 

3.  Softly  Gliding,  Waltz     Arr.  by  /.  H.  Rayder  2 

4.  In  the  Theatre  Charles  F.  Manney  2 

5.  Overture,  "Princess  of  the  Sun"  C.  W ,  Bennet  2 

6.  When  Love  Speaks,  Waltz C.  W.  Bennet  2 

7.  Menuet,  in  G  L.  v.  Beethoven  2 

Fairy  Tale  .' Karl  Komzak  2 

8.  In  the  Swing  P.  A.  Schnecker  1 

9.  Canzonetta,  in  G  Victor  Hollaender  2 

10.  La  Belle  Gavotte Arthur  Traves  Granfield     2 

11.  In  the  Rowboat  P.  A.  Schnecker     1 

12.  Sylphette  C.  A.  W.  Rowland     2 

PHILHARMONIC  ORCHESTRA  SERIES 

(The  First  series  issued  with  Full  Score) 

1.  Cadman,  Charles  W Awake,  Awake!     la 

2.  Grant-Schaefer  G.  A. 

March  of  the  Boy  Scouts  Ib 

3.  Martini,  Padre  G Gavotte  celebre  Ib 

4.  Coerne,  Louis  Adolphe  Enchantment  Ha 

5.  Manney,   Chas.    Fonteyn Pensee  Ic 

6.  Coerne,  Louis  Adolphe  Exaltation  lib 

7.  Bach,  J.  S.  Gavotte  and  Musette  Ic 

8.  Coerne,  Louis  Adolphe Valse  lente  Ha 

9.  Campra,  Bach,  Monsigny,  Haydn  and  Mozart 

Five  Early  Classics  for  String  Orchestra  la 
10.     Dussek,  Beethoven,  Schubert,  Mendelssohn 

and  Ries  

Five  Later  Classics  for  String  Orchestra  la 

Lemont,  Cedric  W. Serenade  Mexicaine  la 

12.  Huerter,  Charles  A  Tender  Thought  I  la 

13.  Mozart,  W.  A. 

Minuet  from  Symphony  in  E\)  Ha 

14.  Handel,  G.  F. Largo  from  Xerxes  Ic 

15.  Lazarus,  Gustave  Hunting  Song  Ib 

16.  Hungarian   Rdkoczy  March  lib 

17.  Brahms,  Johannes,  Hungarian  Dance,  No.  5  lib 
Beethoven,  L.  van Turkish  March  Ha 


190         PUBLIC  SCHOOL  ORCHESTRAS  AXD  BAXDS 

19.  Schubert,  Franz   ..Moment  musical,  No.   6     Ib 

20.  Haydn,  Joseph  Andante  capriccio     Ib 

(Any  of  the  above  can  be  performed  by  Strings  and  Piano 

alone.) 

3.  CAUL  FISCHER,  New  York 

Barcarolle — Tales  of  Hoffman Offenbach  1 

Bridal    chorus — Lohengrin Wagner  1 

Homeless  romance   Arthur  1 

March — Flag  of  truce  Laurendeau  1 

United  liberty  Losey  1 

Victorious   legions    Seredy  1 

Old  Glory — National  air  Seredy  1 

Over  the  waves Rosas  1 

Overture — Poet    and    Peasant Suppe  1 

Minuet  from  "Don  Juan" Mozart  1 

Selection — Bohemian  Girl  Balfe  1 

II  Trovatore  Verdi  1 

William  Tell  Rossini  I 

of  Southern  airs   Seredy  1 

Remembrances    of   Waldteufel Seredy  1 

Wedding  March   Mendelssohn  1 

4.  G.  SCHIRMER,  INC.,  New  York 

Schirmer's  School  Orchestra  Series 

1.  Beethoven,  L  van      Andante  Cantabile  from 

First  Symphony   2 

2.  Mozart,  W.  A.  Menuetto  from  G  Minor 

Symphony    1 

3.  Haydn,  Josef  First    movement     from 

Military  Symphony    2 

4.  Mozart,  W.  A.  Minuet  from  E\) 

Symphony   1 

5.  Beethoven,  L.  van     Allegretto  from  Seventh 

Symphony   1 

6.  Mendelssohn,  Felix  Selection   from  Elijah ....     2 

7.  Handel,  G.  F.  Selection  from  Messiah..     2 


LIST  OF  SCHOOL  ORCHESTRA  MUSIC  191 

(  Friml  R.                     Melodic 1 

(  Karganoff ,  G.             Menuetto  al  antico  1 

J  Rubinstein,  Anton    Romance,  in  Eb  2 

*  (  Schubert,  Franz        Minuet    1 

10.     Gluck,  C.  W.  von      Gavotte  from  Iphigenie..  2 

5.     WILLIS  Music  Co.,  Cincinnati 

Graded  School  Orchestra  and 

Band  Series  Maddy  &  Giddings  1 

Progressive  Orchestra  Book  3 

School  and  Community  Orchestra,  Books  I  and 

II  1 

MUSIC  FOR  STRING  ORCHESTRA 

1.  C.  C.  BIRCHARD  &  Co.,  Boston 

In  the  Woods  Godard  3 

On  the  Mountains  Godard  3 

Entr'acte  and  the  Bells  Coerne  2 

2.  OLIVER  DITSON  COMPANY,  Boston 

Five  Early  Classics  for  String  Orchestra 1 

Five  Later  Classics  for  String  Orchestra 1 

(Any  of  the  Philharmonic  Orchestra  Series  may  be 
performed  by  strings  and  piano  alone.) 

Berceuse Reber  2 

Expectation  Gruenwald  2 

Love  song  Jonas  2 

Scenes  from  childhood  Schumann  2 

Slumber  song  Ries  2 

Slumber  song  from  Masaniello Auber  2 

Song  of  the  Volga  boatman  2 

Song  without  words,  No.  28 Mendelssohn  2 

Two  songs  without  words  Thome  2 

a — Under  the  Leaves. 

b — Simple  Aveu. 

Under  the  balcony  Gruenwald  2 

Watch  of  the  Angel  Guardian Pierne  2 


192         PUBLIC  SCHOOL  ORCHESTRAS  AXD  BANDS 

3.     CARL  FISCHER,  New  York 

Air  on  G  String  Bach-Wilhelmj  2 

Babillage  Gillet  2 

Bridal  chorus — Lohengrin  Wagner 

Chants  Russes  Hegner  2 

Children's  serenade  Bonnard  2 

Dawn  of   love — (Characteristic)    Bendix  2 

Gavotte  Gossec  2 

Henry  VIII  Dance — (difficult)   German  3 

In  Elizabethan  Days  Kramer  2 

Intermezzo — Forget-me-not  „.  Macbeth  2 

In  the  mill Gillet  2 

In  the  shade  Gillet  2 

Liebeslied  Atherton  2 

Loin  du  bal  Gillet  2 

Minuet  (No.  2  in  G) Beethoven  2 

Petite  valse — Flirtation   Steck  3 

Prelude  '. Wagner  3 

Romance— (Violin    solo    and   string   accompani- 
ment)      Svendsen  3 

Srenata  Pierne  2 

Wedding  serenade  Tobani  2 

METHODS  AND  INSTRUCTION  BOOKS 

Recommended  for  use   by    Band   and   Orchestra    Pupils.     Every   pupil 
must  have  one  instruction  book. 

VIOLIN 

Mitchell,  Class  Method,  Books  I,  II 

and  III  Ditson 

Hohmann,  Practical  Violin  School, 

Books  I  and  II Ditson  Ed.,  Nos.  71  and  72 

Wohlfahrt,  Fifty  Easy  Melodious 

Studies,  Op.  74,  Books  I  and  II  ....  Ditson  Edition,  Nos.  17  and  18 

Hr'imaly,   Scale    Studies Ditson  Ed.,  No.  328 

Mazas,  Op.  36,  Book  I Ditson  Ed.,  No.  317 

Beriot   de,   Book  I  for  positions Ditson  Ed.,  No.  193 

Kelley,  First  Lessons  on  the  Vio- 
lin    Oliver  Ditson 

Gruenberg,  Scales  and  Chords, 

Books  I  and  II Ditson  Ed.,  Nos.  123  and  124 


LIST  OF  METHODS  AND  INSTRUCTION  BOOKS      193 

Gruenberg,  Foundation  Exercises.... 
Dancla   School    of   Transpositions — 

Op.    122   Schirmer 

VIOLA 

Mitchell,   First    Lessons Oliver  Ditson 

Campagnoli     Carl  Fischer 

Hofman — Op.  40,   Book  I Carl  Fischer 

'CELLO 

Bornschein,  First  Lessons Ditson  Ed.,  No.  315 

Werner     Carl  Fischer 

Langey     Carl  Fischer 

Imperial     John  Church 

Kummer     White-Smith 

DOUBLE  BASS 

Flockton    Oliver  Ditson 

Langey     Carl  Fischer 

Butler,     H.    J.      New     Progressive 
Method.     Two  Books Carl  Fischer 

FLUTE 

Rollinson   Oliver  Ditson 

Langey   Carl  Fischer 

Popp-Sousmann  1.    24,  cele. 

Studies  No.  56 Carl  Fischer 

Universal   Carl  Fischer 

CLARINET 

Mitchell — Class  Method Oliver  Ditson 

Klose    (abridged)    Oliver  Ditson 

Rollinson   Oliver  Ditson 

Lazarus    (abridged)    Carl  Fischer 

Baermaun   (2  Division)    Carl  Fischer 

Langey    Carl  Fischer 

CORNET 

Mitchell — Class  Method Oliver  Ditson 

Clarke,  Book  I  and  II Oliver  Ditson 

Arban    (abridged) Oliver  Ditson 

Rollinson Oliver  Ditson 

Langey Carl  Fischer 

Eclipse Carl  Fischer 

TROMBONE 

Mitchell — Class  Method Oliver  Ditson 

Rollinson....  ...  Oliver  Ditson 


194         PUBLIC  SCHOOL  ORCHESTRAS  AND  BANDS 

Langey Carl  Fischer 

Imperial John  Church 

Eclipse Carl  Fischer 

DRUMS 

Rollinson Oliver  Ditson 

Eclipse Carl  Fischer 

Langey Carl  Fischer 

TUBA 

Rollinson Oliver  Ditson 

Eclipse Carl  Fischer 

Langey Carl  Fischer 

OBOE 

Langey Carl  Fischer 

BASSOON 

Langey Carl  Fischer 

BARITONE 

Rollinson Oliver  Ditson 

Langey   (Bass  clef) Carl  Fischer 

Imperial John  Church 

FRENCH  HORN 

Langey Carl  Fischer 

O.  Franz  (for  advanced  pupils) Carl  Fischer 

PICCOLO 

Eclipse Carl  Fischer 

Langey Carl  Fischer 

SAXOPHONE 

Rollinson Oliver  Ditson 

Imperial John  Church 

Langey Carl  Fischer 

Ben  Veriken Carl  Fischer 

FOR  VIOLIN  CLASSES — 

Mitchell's  Class  Method,  Book  I, 
First  Position ;  Book  II  More  Ad- 
vanced; Book  III,  Teachers'  Man- 
ual and  Piano  Ace Oliver  Ditson 

Municipal  Loose  Leaf  Method Carl  Fischer  100  sheets 

Zanger's  Twelve  Easy  Violin  Quar- 
tets    Carl  Fischer 

F.  Herman— Forty-five  short  pieces 

for  three  violins,  2  vols Carl  Fischer 


LIST  OF  COLLECTIONS  AND  PUBLISHERS 


195 


Maddy  and  Giddings  —  Universal 
Teacher.  (A  series  of  instruc- 
tion books  for  each  instrument)..  C.  G.  Conn 

ORCHESTRA  COLLECTIONS 

Amateur  Orchestra  Folio  Oliver  Ditson 

In  Toneland   Oliver  Ditson 

Concert   Orchestra   Folio  Oliver  Ditson 

Ten  Light  Overtures  Oliver  Ditson 

Paramount  Orchestra  Folio  Oliver  Ditson 

Beginners'  Orchestra  Book  J.  W.  Jenkins  &  Sons 

Advanced  Orchestra  Book  J.  W.  Jenkins  &  Sons 

Champion   Orchestra   Book J.  W.  Pepper  &  Son 

Imperial   Orchestra   Book   John  Church 

Beginners'  Orchestra  Book  Emil  Ascher 

Favorite  Folio  No.  I  and  II Sam  Fox 

Students'  Orchestra  Folio John  Church 

Lyric  Orchestra  Book  John  Church 

Graded  School  Orchestra  and  Band 

Series   :. Willis  Music  Co. 

Progressive  Orchestra  Book   Willis  Music  Co. 

School    and    Community    Orchestra 

Books   Willis  Music  Co. 

BAND  BOOKS 

American   Band   Instructor  Oliver  Ditson 

Constellation  Band  Book  Oliver  Ditson 

The  Handy  Band  Book  Oliver  Ditson  • 

Beginners'  Band  Book  J.  W.  Jenkins  &  Sons 

Educator  Band  Book  C.  L.  Barnhouse 

Imperial  Band  Book  John  Church 

U.  T.  D.  Band  Book  John  Church 

ADDRESSES  OF  PUBLISHERS 


Emil  Ascher 

C.  L.  Barnhouse 

C.  C.  Birchard  &  Co. 

John  Church  &  Co. 

C.  G.  Conn 

Oliver  Ditson  Company 

Carl  Fischer 

Sam  Fox  &  Co. 

J.  W.  Jenkins  &  Sons  Co. 

Fred  Jewell 

J.  W.  Pepper  &  Son 

G.  Schirmer 

Clayton  F.  Summy  Co. 

White-Smith  Music   Company 


1155  Broadway,  New  York 

Oskaloosa,  Iowa 

221  Columbus  Ave.,  Boston,  Mass. 

Cincinnati,  Ohio 

Elkhart,  Ind. 

178-9  Tremont  St.,  Boston,  Mass. 

46  Cooper  Square,  New  York 

Cleveland,  Ohio 

Kansas  City,  Missouri 

Worthington,  Ind. 

33rd  &  Walnut  St.,Phila.,Pa. 

3  E.  43rd  St.,  New  York 

459  S.  Wabash  Ave,  Chicago 

62  Stanhope  St.,  Boston,  Mass. 


APPENDIX 

BONDING    OF    INSTRUMENTS,    SUPPLIED    BY    THE 

SCHOOL  DEPARTMENT,  THAT  ARE  LOANED 

To  PUPILS 

To  Parents: 

1.  Bonds  must  be  signed  for  instruments  loaned 
to  pupils. 

2.  The  amount  of   the  bond  simply  covers  the 
cost  of  the  instrument. 

3.  Should  the  instruments  be  damaged,  student 
must  pay  for  repair. 

4.  Instructors    will   examine    instruments    each 
month  and  report  condition. 

5.  Should  student  leave  school  and  return  in- 
strument in  good  condition,  no  charge  will  be  made 
for  its  use. 

6.  Students   to   whom  instruments   are   loaned 
must  continue  their  special  lessons.     It  is  only  just 
that  the  students  be  required  to  practice  regularly 
and  continue  their  lessons,  if  the  school  system 
supplies  the  instrument.     If  students  do  not  con- 
tinue their  lessons  and  keep  up  regular  practice, 
making  reasonable  progress,  the  privilege  of  re- 
calling the  instrument  is  reserved  that  it  may  be 
assigned  to  other  students  who  are  anxious  to  avail 
themselves  of  these  special  advantages. 

Instruments  furnished  by  the  school  system  are 
for  use  in  school  organizations  only.  Any  violation 
whatsoever  of  this  rule  immediately  forfeits  the 
further  privilege  of  their  use. 

Recommendations  concerning  the  purchase  of 
new  instruments  will  gladly  be  given  to  parents. 

196 


APPENDIX  197 

All  instruments  that  are  recommended  have  been 
tested  and  are  quoted  at  special  prices  from  the 
dealers  to  school  students.  It  is  not  advisable 
to  purchase  expensive  instruments  until  the  pupils 
are  sufficiently  well  advanced  in  their  studies  and 
have  proved  by  their  proficiency  that  their  tastes 
and  qualifications  warrant  such  expenditure. 

BOND  FOR  BAND  INSTRUMENT  FURNISHED  BY 
OAKLAND  SCHOOL  DISTRICT 


Kmna  all  «JBf«  bg  Ihrat 

That  we,  the  undersigned,  are  held  and  firmly  bound  unto  OAKLAND 
SCHOOL  DISTRICT  of  Alameda  County,  State  of  California,  a  pub- 
lic corporation,  in  the  sum  of 

Dollars,  Gold  Coin  of  the  United  States 

of  America,  for  the  payment  of  which  sum  well  and  truly  to  be  made  to 
said  School  District,  we,  and  each  of  us,  bind  ourselves,  our  heirs, 
executors  and  assigns,  jointly  and  severally,  firmly  by  these  presents. 

Sealed  with  our  seals,  and  dated  this day  of 192.  . 

The.  condition  of  the  above  obligation  is  such,  that 

WHEREAS,  said  Oakland  School  District  of  Alameda  County, 

State  of  California,  has  supplied  to 

a  certain  musical  instrument,  to-wit: (Number), 

of  the  value  of Dollars,  for  use  in 

School  Band  in  said  district,  with  the  privilege  of  taking  said  musical 
instrument  home  for  the  purpose  of  practicing  thereon; 

\in\-.  THEREFORE,  if  the  said 

shall  return  said  instrument,  on  demand,  to  said  School  District  in  as 
good  condition  as  when  received,  less  reasonable  wear  and  tear,  then 
this  obligation  shall  become  null  and  void;  otherwise  to  remain  in  full 
force  and  effect. 


(Pupil) 

who  resides  at . 
(Parent) 

who  resides  at 
(Bondsman) 

who  resides  at . 


(The  name  of  at  leant  one  of  the  nigners  of  the  above  bond  must  appear 
upon  the  Assessment  Roll  of  the  City  of  Oakland  for  the  current  fiscal 
year,  for  property  assessed  in  his  or  in  her  name). 


198      PUBLIC  SCHOOL  ORCHESTRAS  AND  BANDS 

CONDITIONS   GOVERNING   PUPILS   WHO   RECEIVE 
FREE  INSTRUMENTAL  INSTRUCTION 

1.  Pupils  must  possess  and  use  an  instruction 
book. 

2.  Pupils  must  continue  lessons  with  the  school 
instructor  for  the  term. 

3.  Pupils  must  practice  not  less  than  one-half 
hour  a  day. 

4.  Pupils  must  play  with  the  school  organiza- 
tion. 

.5.  Pupils  must  participate  in  all  functions  in 
which  the  schools  are  represented. 

6.  Pupils  must  make  as  consistent  progress  in 
their  music  as  in  all  other  studies. 

7.  Pupils   must  keep  the  instruments  in  good 
condition  and  repair,  i.e.,  clean,  polished,  slides 
loose  and  oiled. 

8.  Pupils  must  return  the  instrument  in  good 
condition  to  the  principal  of  the  school   or  the 
music  instructor  before  graduation. 

9.  Under  no  conditions  are  pupils  permitted  to 
use   school   instruments   in   outside   organization. 


Failure  or  neglect  to  meet  these  requirements 
forfeits  not  only  the  privilege  of  free  instruction, 
but  the  right  to  membership  in  the  school  organ- 
ization; and  further  obligates  the  surrender  of 
the  instrument  as  well. 

To  the  Parents: 

In  order  that  satisfactory  results  may  be  ob- 
tained in  instrumental  instruction,  your  co-opera- 
tion is  requested. 

Regular  practice,  like  regular  study,  is  neces- 
sary for  progress.  Only  one-half  hour  of  practice 


APPENDIX 


199 


a  day  is  required  by  the  instructors.  If  you  insist 
that  practice  be  done  every  day  at  the  same  time, 
you  will  materially  assist  in  establishing  the  habit 
of  practice.  Moreover,  you  are  capable  of  estim- 
ating the  kind  of  practice  that  is  being  done,  and 
if  you  require  steady  work  thoughtfully  done,  the 
results  will  be  satisfactory  both  to  you  and  to  the 
instructor. 

Visit  the  school;  confer  with  the  instructor; 
hear  the  lessons;  see  how  other  pupils  work;  ask 
for  the  teacher's  criticism  of  the  work  your  child 
is  doing,  thus,  your  co-operation  and  interest  will 
assure  the  success  of  our  efforts. 

A  report  card  will  be  sent  to  you  each  week. 
Kindly  state  the  number  of  minutes  of  practice 
done  each  day.  Sign  this  card  and  return  to  the 
instructor. 

INSTRUMENTAL  INSTRUCTION 

PRACTICE  REPORT  CARD 


19 


Name, 


Instrument 


School 


(Record  minutes  of  practice  for  each  day,  sign  and  return  to  Instructor) 


MON. 

TUBS. 

WED. 

THURS. 

FRI. 

PARENT'S  SIGNATURE 

1st  Wk. 
Date 

2nd  Wk. 
Date 

3rd  Wk. 
Date 

4th  Wk. 
Date 

Instructor 


200 


PUBLIC  SCHOOL  ORCHESTRAS  AXD  BANDS 


LIST  OF  BOOKS  SUGGESTED  FOR  STUDY 


Ebenezer  Prout 


1.  INSTRUMENTATION 

Oliver  Ditson  Company,  Boston 

2.  INSTRUMENTATION 

Boston  Music  Co.,  Boston 

3.  INSTRUMENTATION 

Carl  Fischer,  New  York 

4.  CONDUCTING,  ESSENTIALS  IN 

Oliver  Ditson  Company,  Boston 

5.  ORCHESTRAL  INSTRUMENTS  AND  THEIR 

USE 
Novello,  New  York 

6.  GALLO'S  BAND  BOOK 

Oliver  Ditson  Company,  Boston 

7.  BAND  ASSISTANT 

Oliver  Ditson  Company,  Boston 

8.  WIND  BAND 

Carl  Fischer,  New  York 

9.  AMATEUR  BAND  GUIDE 

Carl  Fischer,  New  York 

10.  How  TO  ORGANIZE  AND  CONDUCT  THE 

SCHOOL    OR    COMMUNITY    BAND 
AND  ORCHESTRA 
J.  W.  Pepper  &  Son,  Philadelphia 

11.  DEVELOPMENT  OF  MODERN  SCHOOL 

ORCHESTRA 
Willis  Music  Co.,  Cincinnati,  Ohio 

12.  MISTAKES  AND  DISPUTED  POINTS  IN 

Music  AND  Music  TEACHING  Louis  C.  Elson 

Theo.  Presser,  Philadelphia 

13.  ELSON'S  Music  DICTIONARY 

Oliver  Ditson  Company,  Boston 

14.  CHORAL  TECHNIQUE 

H.  W.  Gray  Co.,  New  York 

15.  OUTLINES  OF  Music  HISTORY 

Oliver  Ditson  Company,  Boston 

16.  EPOCHS  IN  MUSICAL  PROGRESS 

Oliver  Ditson  Company,  Boston 

17.  How  TO  WRITE  Music 

H.  W.  Gray  &  Co.,  New  York 

18.  VICTOR  BOOK — INSTRUMENTS  OF  THE 

ORCHESTRA  WITH  CHARTS 
Victor  Talking  Machine  Company,  Camden,  N.  J. 

19.  INSTRUMENTS  OF  THE  MODERN  SYM- 

PHONY ORCHESTRA  Arthur  Johnstone 

Carl  Fischer,  New  York 

20.  GRADE  SCHOOL  Music  TEACHING  T.  P.  Giddings 

C.  H.  Congdon,  200  Fifth  Ave.,  New  York 


Gaston  Borch 

H.  Kling 

Karl  W.  Gehrkens 


Daniel  G.  Mason 
Stanislao  Gallo 
L.  P.  Laurendeau 
A.  A.  Clappe 
Edwin  F.  Goldman 


Cogswell 


L.  M.  Gordon 


Louis  C.  Elson 
Henry  Coward 
Clarence  G.  Hamilton 
Clarence  G.  Hamilton 


Clement  A.  Harris 


APPENDIX 


201 


21.  THE  ORCHESTRA  W.  J.  Henderson 

The  Mentor — February  15,  1917 

The  Mentor  Association,  Inc.,  New  York 

22.  HARMONY  FOR  EYE,  EAR  AND  KEYBOARD 

Oliver  Ditson  Company,  Boston 

23.  CUMULATIVE  HARMONY 

Ginn  &  Co.,  Boston 

24.  HARMONIC  MATERIAL  AND  ITS  USE 

Clayton  F.  Summy  Co. 

25.  Music  APPRECIATION,  BASED  ON  ME- 

THODS OF  LITERARY  CRITICISM 
Oliver  Ditson  Company,  Boston 

26.  INTRODUCTION  TO  Music  APPRECIATION 

AND  HISTORY 
Oliver  Ditson  Company,  Boston 

27.  THE  FUNDAMENTALS  OF  Music 

Oliver  Ditson  Company,  Boston 

28.  FROM  SONG  TO  SYMPHONY 

Oliver  Ditson  Company,  Boston 

29.  MUSICAL  INSTRUMENTS 

Oliver  Ditson  Company,  Boston 

30.  How  TO  LISTEN  TO  Music 

Chas.  Scribner's  Sons 

31.  THE  ORCHESTRA  AND  ORCHESTRAL 

Music 
Chas.  Scribner's  Sons 

32.  ORCHESTRAL  INSTRUMENTS  AND  THEIR 

USE 
L.  C.  Page,  Boston 

33.  SOUND  AND  ITS  RELATION  TO  Music 

Oliver  Ditson  Company,  Boston 


Arthur  E.  Heacox 
Wm.  J.  McCoy 
Adolf  Weidig 


Clarence  G.  Hamilton 

Dorothy  Tromble  Moyer 
Karl  W.  Gehrkens 
Daniel  Gregory  Mason 
Edgar  Stillman  Kelley 
H.  E.  Krehbiel 

W.  J.  Henderson 

Arthur  Elson 
Clarence  G.  Hamilton 


LIBRARY  PLAN 

The  instrumental  music  of  the  Oakland  School 
Department  is  in  a  circulating  library.  All  music 
is  placed  in  folders  marked,  "Property  of  the 
Board  of  Education."  On  the  inside  of  each 
cover  is  pasted  an  inventory  slip  of  all  the  parts 
therein  contained. 

When  the  music  is  issued,  the  instructor  signs  a 
"loan  slip"  with  the  names  of  the  selections  bor- 


202         PUBLIC  SCHOOL  ORCHESTRAS  AND  BANDS 

rowed  and  the  date  on  which  they  were  taken  out, 
and  deposits  this  in  the  "loan  box." 

When  the  music  is  returned,  the  "loan  slip"  is 
destroyed,  and  the  music  placed  in  its  box,  if  it 
is  complete.  If  parts  are  missing  the  selection  is 
placed  with  the  "imperfect"  group  so  that  the 
missing  parts  may  be  replaced. 

Instructors  are  held  responsible  for  parts  that 
are  lost  out  of  single  selections,  but  folios  and 
books  that  are  worn  out  are  replaced  by  the  School 
System. 

Besides  the  inventory  slips,  a  complete  list  of  all 
music  is  tabulated  giving  publisher,  title,  kind  of 
selection,  for  band  or  for  orchestra,  and  the  number 
of  copies. 

Another  separate  list  is  kept  of  all  the  selections 
for  orchestra  only,  and  second  list  for  band,  as  well 
as  an  order-record  which  duplicates  the  original 
order,  giving  number  of  parts,  date  ordered  and 
received. 


APPENDIX 


203 


INVENTORY  SLIPS 


BAND  PARTS 

.Solo  B-flat  Cornet  Baritone  bass  clef 

.1st  B-flat  Cornet  Basses  (E-flat) 

.2nd  and  3rd  B-flat  Cornets  Drums 

.E-flat  Cornet  Piccolo 

.1st  and  2nd  E-flat  Altos  E-flat  Clarinet 

.3rd  and  4th  E-flat  Altos  Solo  B-flat  Clarinet 

.1st  and  2nd  Trombone  (or  1st  B-flat  Clarinet 


Tenors)  treble  clef 
.1st  and  2nd  Trombone  (or 

Tenors)  bass    clef 
.3rd  Trombone  (or  B-flat 

Bass)  treble  clef 
.3d  Trombone  (or  B-flat 

Bass)  bass  clef 
.Baritone,  treble  clef 


.2nd  and  3rd  B-flat 
Clarinets 
.Oboe 
.Bassoon 

.Soprano  Saxophone 
.Alto  Saxophone 
.Tenor  Saxophone 
.Baritone  Saxophone 


ORCHESTRA  PARTS 


.Piano 
.Solo  Violin 
.1st  Violin 
.2nd  Violin 
.3rd  Violin 
.Viola 
.'Cello 
.Bass 
.1st  Flute 
.2nd  Flute 
.1st  Clarinet 
.2nd  Clarinet 
.1st  Cornet 
.2nd  Cornet 


.Trombone,  T.  C. 

.1st  Trombone,  B.  C. 

.2nd  Trombone,  B.  C. 

.3rd  Trombone,  B.  C. 

.1st  Horn 

.2nd  Horn 

.3rd  and  4th  Horns 

.Oboe 

.Bassoon 

.Tuba 

.Drums 

.Tympani 

.Organ 


204         PUBLIC  SCHOOL  ORCHESTRAS  AND  BANDS 


MARKERS  FOR  MUSIC  FOLDERS 


ORCHESTRA  PARTS 
Leader 
1st  Violin 
2nd  Violin 
Viola 
'Cello 
Bass 
Flute 
Oboe 
Bassoon 
1st  Clarinet 
2nd  Clarinet 
1st  Cornet 
2nd  Cornet 
Horns 
Trombone 
Tuba 
Drums 
Tympani 
Piano 


BAND  PARTS 
Conductor 
Piccolo 
Flute 

E-flat  Clarinet 
Solo  and  1st  B-flat  Clarinet 
1st  B-flat  Clarinet 
2nd  B-flat  Clarinet 
3rd  B-flat  Clarinet 
Solo  B-flat  Cornet 
1st  B-flat  Cornet 
2nd  and  3rd  B-flat  Cornet 
1st  and  2nd  E-flat  Altos 
3rd  and  4th  E-flat  Altos 
1st  and  2nd  Trombone  B.  C. 
3rd  Trombone  B.  C. 
Baritone  B.  C. 
Baritone  T.  C. 
Basses 

Soprano  Saxophone 
Alto  Saxophone 
Tenor  Saxophone 
Baritone  Saxophone 
Drums 


SUPPLEMENTAL  LIST  205 

THE  PHILHARMONIC  ORCHESTRA  SERIES 

(The  FIRST  series  issued  with  FULL  SCORE) 

Each  composition  includes  a  complete  Orchestral  Score  in  addition  to 
the  usual  instrumental  parts.  The  orchestration  is  so  arranged  and  cross- 
cued  as  to  insure  adequate  performance  without  readjustment  for  much 
smaller  groups  of  instruments  than  indicated  in  the  full  score. 

SPECIAL  FEATURES 

In  order  to  extend  the  group  of  available  instruments  alternative 
parts  are  added  as  follows:  In  addition  to  French  Horns  in  F,  alterna- 
tive 1st  and  2d  Altos  in  Eb  are  included  in  the  score. 

In  addition  to  the  Viola  part  a  3d  Violin  part  is  given.  In  addition 
to  the  Tympani  part,  one  for  Drums  is  included. 

Not  included  in  the  score  are  the  following  extra  parts  which  are 
supplied  on  order: 

C  Melody  Saxophone,  for  use  in  the  absence  of  the  Oboe.  (The 
notes  sound  an  octave  lower  than  written.) 

Bb  Tenor  Saxophone,  for  use  in  the  absence  of  the  Bassoon.  (The 
notes  sounding  m  unison  as  far  as  the  compass  permits.) 

Bb  Trombone,  or  Baritone  in  Treble  clef.  This  is  the  regular  Trom- 
bone part  written  for  players  unfamiliar  with  the  Bass  clef. 

Eb  Tuba,  for  use  in  the  full  ensemble  to  strengthen  the  Bass.  (Not 
a  complete  substitute  for  Double  Bass.) 

Clarinets  in  Bb  are  used  almost  exclusively,  since  those  in  A  are  not 
always  available.  For  consistency,  Trumpets  in  Bb  are  simultaneously 
used. 

All  instruments,  such  as  1st  and  2d  Clarinet,  1st  and  2d  French 
Horn,  1st  and  2nd  Trumpet,  have  a  separately  published  part. 

Each  score  includes  a  complete,  though  optional,  Piano  part,  -which 
also  is  published  separately. 

The  entrance  cues,  bowing,  fingering,  measure  numbers  and  grading 
are  fully  cared  for,  and  the  instrumentation  is  designed  to  make  every 
part  as  interesting  as  possible. 

NUMBERS  PUBLISHED  Full 

Grade      Score 

1.  Cadman,  Charles  W.                                       Awake,  Awake!  la 

2.  Grant-Schaefer,  G.  A.                  March  of  the  Boy  Scouts  la 

3.  Martini,  Padre  G.                                             Gavotte  celebre  Ib 

4.  Coerne,  Louis  Adolphe                                       Enchantment  Ila 

5.  Manney,  Chas.  Fonteyn  Pensee 

6.  Coerne,  Louis  Adolphe                                             Exaltation  lib 

7.  Bach,  J.  S.                                                Gavotte  and  Musette  Ic 

8.  Coerne,  Louis  Adolphe                                            Valse  lente  Ha 

9.  Campra,  Bach,  Monsigny                        Five  Early  Classics  1  j                 .  ,5 

Haydn  and  Mozart  for  String  Orchestra  J 

10.  Dussek,  Beethoven,  Schubert,  Five  Later  Classics  )  jjj  j_25 

Mendelssohn  and  Ries  for  String  Orchestra  J 

11.  Lemont,  Cedric  W.  Serenade  Mexicaine  la  1.25 

12.  Huerter,  Charles  A  Tender  Thought  la  1.00 


206 


PUBLIC  SCHOOL  ORCHESTRAS  AXD  BAXDS 


13.  Mozart,  W.  A. 

14.  Handel,  G.  F. 

15.  Lazarus,  Gustave 

16.  Hungarian 

IT.    Brahms,  Johannes 

18.  Beethoven,  L.  van 

19.  Schubert,  Franz 

20.  Haydn,  Joseph 


Minuet,  in  E>)  Ila  1.00 

Largo  from  Xerxes  Ic  1.25 

Hunting  Song  Ib  1.25 

Rakoczy  March  lib  1.50 

Hungarian  Dance,  No.  5  lib  1.50 

Turkish  March  Ha  1.25 

Moment  musical,  No.  3  Ib  1.00 

Capriccio,  in  A  Ib  1.25 


(Any  of  the  above  can  be  performed  by  Strings  and  Piano  alone) 
Small    and   Piano    (except   No.    16,    .90)    .75    each 

Full  and  Piano   (except  No.   16,    1.25)    1.00  each 

Piano  parts,  .25  each;  other  parts,  .15  each 

EASY  EDITION  FOR  ORCHESTRA 

SPECIAL  FEATURES 

FIRST.  The   music  is   in  easy   grades   and   adapted   for  orchestra 

classes  in  the  grade  schools. 
SECOND.       The  First  Violin  part  is  in  the  First  Position  and  the  proper 

bowings  and  fingerings  are  indicated. 
THIRD.          A  Ripieno  Second  Violin  part  in  Melodic  Form,  is  included 

which  is  intended  as  a  substitute  for  the  regular  Second 

Violin  when  a  Piano  is  used. 

FOURTH.      The  Clarinet  and  Cornet  parts  are  for  Bb  instruments.    A 
FIFTH.  Trombone  part  is  published  in  the  Treble  Clef  and  will  be 

substituted  for  the  Bass  Clef  if  so  ordered. 
SIXTH.  The  Piano  part  has  the  entire  melody  cued  in. 

SEVENTH.    The  Third  Violin  part  is  intended  as  a  substitute  for  the 

Viola. 
EIGHTH        The  Obbligato  First  Violin  is  ad  libitum,  and  intended  for 

performers  who  can  play  in  the  positions. 

INSTRUMENTATION 

SMALL  ORCHESTRA.  (Thirteen  Instruments)  :  First  Violin,  Obbli- 
gato First  Violin,  Second  Violin,  Ripieno  Second  Violin,  Third 
Violin,  Viola,  'Cello,  Bass,  First  Clarinet  in  Bb,  Cornets,  Trombone 
(Bass  Clef)  and  Drums. 

FULL  ORCHESTRA.  Second  Clarinet  in  Bb,  Horns  in  F,  Oboe,  Bas- 
soon and  Extra  First  Violin  added  to  the  above. 

Tenor  Saxophone   and  Melody   Saxophone  extra  at  single  part   prices. 

1.  Salutation  Grand  March  T.  H.  Rollinson 

2.  Up  With  the  Flag  March  C.  W.  Bennet 

3.  Softly  Gliding  Waltz  Arr.  by  J.  H.  Rayder 

4.  In  the  Theatre  Chas.  F.  Manney 

5.  Overture,  "Princess  of  the  Sun"  C.  W.  Bennet 

6.  When  Love  Speaks  Waltz  C.  W.  Bennet 
_   (  Menuet,  in  G                                                                                              L.  v.  Beethoven 


8. 

9. 
10. 
11. 
12. 


Fairy  Tale 
In  the  Swing 
Canzonetta,  in  G 
La  Belle  Gavotte 
In  the  Rowboat 
Sylphette 


Karl  Komzak 
P.  A.  Schnecker 
Victor  Hollaender 
Arthur  Traves  Granfield 
P.  A.  Schnecker 
C.  A.  W.  Howland 


Sample   1st  Violin  parts   Free. 


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SUPPLEMENTAL  LIST  207 

GALLO'S   BAND   BOOK 

A  Treatise  on  Wind   Instruments,  Symphony   Band,   and   Military  Band 

By  STANISLAO  GALLO 
Conductor  of  the   Gallo   Symphony  Band,   Boston 

PRICE,  2.00,  NET 

The  whole  subject  of  W  ind  Instruments  is  most  clearing  and  minutely 
presented;  and,  this  treatise  is  the  most  complete  reference  book  not 
only  on  instrumentation  for  band,  but  for  the  orchestra  as  well.  The 
book  is  copiously  illustrated  with  charts  and  examples  of  scoring,  to- 
gether with  drawings  of  the  wind  instruments  in  present-day  use. 

HOW  TO  MASTER  THE  VIOLIN 

By  PAVEL  BYTOVETZSKI 

(The    Music    Students   Library)  Cloth,   $1.25,    Net 

This  compact  work  takes  up  the  daily  needs  of  the  student,  and  the 
advanced  player  as  well,  in  a  series  of  chapters  each  dealing  with  one 
important  phase  of  technic,  and  providing  means  for  conquering  its  dif- 
ficulties. Illustrations  reinforce  the  instructions  given. 

HOW  TO  STUDY   KREUTZER 

By  BENJAMIN  CUTTER 

(The   Music   Students  Library)  Cloth,  $1.25,   Net 

This  handbook,  for  the  daily  use  of  violin  teachers  and  students, 
contains  explanations  of  the  left-hand  difficulties  and  of  their  solution, 
with  directions  for  the  systematic  acquirement  of  the  various  bowings, 
both  firm  and  bounding. 

DAILY   BOWING   EXERCISES    FOR   THE    VIOLIN 

By   EUGENE  GRUENBERG 
PRICE,  75  CENTS,  NET 

This  series  of  useful  exercises  tends  to  rectify  the  frequent  mistake 
made  in  assuming  that  left-hand  dexterity  creates  a  violin  technic.  Reg- 
ular practice  of  these  different  bowings  may  be  called  the  principal  con- 
dition of  success,  in  violin  playing. 

FOUNDATION  EXERCISES  FOR  THE  VIOLIN 

Edited  by   EUGENE  GRUENBERG  Price,    $1.50    Net 

A  series  of  daily  studies.  More  than  a  third  of  the  book  is  given  to 
the  First  Position;  another  third  to  Shifting,  including  all  the  positions. 

PROGRESSIVE  VIOLIN   STUDIES   BY   FAMOUS   MASTERS 
Selected  and   Edited  by   EUGENE  GRUENBERG 

This  work  offers  to  the  student  daily  exercises  that  will  aid  him  in 
solving  all  the  different  tasks  of  finger  technic  in  the  most  important 
phases. 

Vol.   I.  Studies  in  the  First  Three  Positions  $1.5O  Net 

Vol.   II.  Studies   in  the   First   Five   Positions  $1.50  Net 

Vol.  III.  Studies  in  All  the  Positions  $1.50  Net 

Postage  extra  except  in  first  and  second  zones  from  Boston  and  New  York. 

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208         PUBLIC  SCHOOL  ORCHESTRAS  AND  BANDS 
SCALES  AND  CHORDS  FOR  THE  VIOLIN 

By    EUGENE   GRUENBERG 

In  their  most  important  form.  The  author,  who  is  of  the  faculty 
of  the  New  England  Conservatory  of  Music,  gives  in  practical  and  logical 
form  the  basis  of  violin  technic. 

Book   I.        The   First  Position  $1.00   Net 

Book   II.      All   the    Positions  1.20   Net 

Complete  1.50  Net 

TWENTY-FIVE  VIOLIN  EXERCISES  IN  THE  FIRST 
POSITIONS 

By    EUGENE   GRUENBERG  Price,  $1.00,   Net 

Designed  to  facilitate  the  study  of  the  most  important  strokes,  and 
to  develop  the  sense  of  rhythm. 

MELODIC  VIOLIN  PIECES  FOR  THE  DEVELOPMENT 
OF  STYLE 

Compiled  and  Edited  by  EUGENE  GRUENBERG 

With    Piano   Accompaniment 

Issued  in  three  books,  and  carefully  arranged  in  progressive  order, 
from  the  easiest  grade  to  that  of  medium  difficulty. 

I.  Fifty   Very   Easy  Pieces   in   the  First   Position  $1.50  Net 
These  brief  numbers  commence  with  two  pieces  for  the  open  strings, 

introducing  the  third  finger  with  No.  7,  and  all  the  fingers  with  No.  9. 
Many  of  the  selections  are  folksongs  and  there  are  several  very  easy  ar- 
rangements of  classical  melodies. 

II.  Thirty    Drawing    Room    Pieces  $1.50   Net 
These  pieces,  intended  for  the  study  of  shifting,  are  all  melodious 

and  pleasing  both  to  performer  and  listener.  The  numbers  include  five 
each  by  Bohm  and  Tours,  four  by  both  Danbe  and  Sitt,  and  pieces  by 
Dancla,  Godard,  Papini,  Reinecke  and  others. 

III.  Thirty    Operatic    Selections  $1.50   Net 
These  selections  while  chosen  as  aids  in  the  study  of  shifting,  are 

taken  from  operas  by  great  writers  of  different  periods  and  schools. 
Mozart,  Rossini,  Wagner  and  Weber  are  each  represented  by  three  or 
more  numbers,  and  among  the  other  composers  are  Auber,  Bizet,  Delibes, 
Flotow  and  Gounod. 


Edited  by   JOHN   CRAIG  KELLEY 

A  series  of  fine  melodies  transcribed  and  arranged  in  progressive 
order.  It  forms  an  indispensable  collection  for  teachers  of  beginners. 

I.  Fifty  Easy  Melodies  for  Violin  and  Piano  in  the  First  Position  $1.25  Net 

Begins  with  a  little  piece  for  the  open  strings,  followed  by  several 
pieces  for  one  or  two  fingers  and  the  open  strings.  The  balance  of  the 
book  is  made  up  of  familiar  folk-melodies  and  very  easy  numbers  by 
well-known  composers. 

II.  Thirty    Pieces    for    Violin    and   Piano    in    the    First    Position    $1.25   Net 
These  thirty  numbers,  while  in  the  first  position,  are  in  musical  and 

technical   difficulty  more  advanced  than  those  in  Book  I  of  this  series, 
providing  greater  problems  of  fingering,  bowing,  rhythm,  key  and  tempo. 

III.  Thirty  Pieces  for  Violin  and  Piano  in  the  First  Three  Positions  $1.25   Net 

The  pupil  may  play  the  first  pieces  in  this  book  when  he  has  started 


SUPPLEMENTAL  LIST  209 

to  learn  the  third  position,  as  they  are  very  simple.  The  surprising 
dearth  of  attractive  little  pieces  in  the  first  three  positions  that  are 
within  the  technical  grasp  of  very  young  players,  led  the  editor  to  make 
his  own  arrangements  for  the  larger  part  of  the  book.  Among  the  com- 
posers represented  are  Gounod,  Schumann,  .Mendelssohn,  Wagner  and 
Verdi. 

IV.  Twenty  Pieces  for  Violin  and  Piano  in  the  First  Five  Positions  $1.25  Net 
In  its  technical  demands  and  in  musical  dignity  this  volume  is  quite 
in  advance  of  the  three  earlier  books  in  this  series,  demanding  a  degree  of 
artistry.  Included  in  this  collection  are  Bach's  Air  for  the  G  string, 
Godard's  Berceuse.  Handel's  Larghetto,  Bohm's  Scherzoso,  Saint-Saens, 
The  Sican,  and  Schubert's  The  Bee. 

FIRST  POSITION  MELODIES   FOR  TWO  VIOLINS 
AND  PIANO 

Arranged  by   KARL  RISSLAND  50    Cents,     Net 

This  low-priced  book  is  of  especial  value  in  school  work  where 
familiar  melodies  in  easy  arrangement  are  needed.  The  two  violin  parts 
of  the  twenty  airs  are  engraved  together  so  that  each  player  can  watch 
the  other's  part.  This  plan  makes  it  possible  for  groups  to  instantly 
shift  from  one  part  to  the  other  at  the  teachers  direction.  Care  has 
been  taken  to  give  the  melody  at  times  to  the  Second  Violin  and  both 
parts  maintain  a  musical  interest. 

DITSON  EASY  TRIOS  FOR  TWO  VIOLINS   AND  PIANO 

Arranged  by   KARL  RISSLAND  50    Cents,     Net 

Designed  especially  for  school  use  and  group  work,  the  music  is  an 
advance  on  the  above  mentioned  volume  for  it  goes  into  the  third  posi- 
tion, higher  positions  are  altogether  optional.  It  contains  Fairy  Tale  by 
Komzak,  'O  sole  mio  by  Capua,  Tranquility  by  Busch,  A  petits  pas  by 
Sudessi,  Memories  by  Cadman,  La  poupee  by  Bizet,  The  Sweetest  Story 
by  Stults,  and  Minuet  in  G  by  Beethoven.  The  Second  Violin  has  a  mel- 
odic part. 

TRIOS  FOR  VIOLIN,  'CELLO  AND  PIANO 

DITSON  TRIO  ALBUM,  VOL.  I.  Edited  by  Karl  Rissland  $2.00  Net 

Contains  ten  arrangements  from  Bartlett,  Chopin,  Dvorak,  Elgar, 
Gounod,  Grieg,  Lemont,  Massenet,  Rubinstein  and  Tchaikovsky. 

DITSON  TRIO  ALBUM,  VOL.  II.  Edited  by  Karl  Rissland  $2.00  Net 

Contains  ten  arrangements  from  Bohm,  Cadman,  Debussy,  Fisher, 
Pierne,  Saint-Saens,  R.  Strauss,  Tchaikovsky,  Verdi  and  Wagner. 

DITSON  OPERATIC  TRIO  ALBUM.  Edited  by  Karl  Risslar.d  $2.00  Net 
Contains  ten  arrangements  from  AYda,  Carmen,  Faust,  Gioronda, 
Lucia,  Rigoletto,  Samson  et  Dalila,  Tales  of  Hoffman,  Tannhauser 
and  Trovatore. 

DITSON  EASY  TRIO  ALBUM.  Edited  by  Karl  Rissland  $2.00  Net 

Contains  fifteen  easy  arrangements  from  Beethoven,  Bizet,  Busch, 
Cadman,  di  Capua,  Cowles,  Denza,  Grieg,  Komzak,  Lemont,  Mas- 
senet, d'Orso,  Schubert,  Stults  and  Sude>~i. 

Postage  extra  except  in  first  and  second  zones  from  Boston  and  New  York. 

OLIVER   DITSON   COMPANY          -          BOSTON 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 
This  book  is  DUE  on  the  last  date  stamped  below. 


^rr-rfrjga^ 

#4ft~7 — *58 


OCT  1  6  ' 


NOV  T  0  '59 

Form  L9-100m-9,'52(A3105)444 


DECS     *56 
APR  27  '$0 

JUN  1  1  '60 
JUL  7      '60 


JUL28  -60 


MAY  i  4  1970 
UM  1 3 1370 

STACK 

JAN  2 11986 


KT 

810 

•V86p 

MUSIC 
UBRARY 


A     000  255  454     1 


